movie reviews by PvtCaboose91

"We're gonna make sure that coming to America was the worst decision Viktor Dragovic ever made!"

Skin Trade delivers on expectations. It does not exactly exceed them, but it does not disappoint, which is a big deal considering what's at stake here. After all, it is a direct-to-video affair with one hell of a cast, including Expendables luminary Dolph Lundgren, Thai superstar Tony Jaa, former RoboCop Peter Weller, Hellboy star Ron Perlman, and the perpetually reliable Michael Jai White. Luckily, instead of a schlocky waste of time like Blood of Redemption or Ambushed, Skin Trade has the skill and know-how to deliver as a bruising B-movie actioner. It also functions as something of a public service announcement about the hideous human trafficking industry, with the movie giving us something to chew on as we enjoy the carnage, violence, and explosions.

Seeking to take down sinister Siberian human trafficker Viktor Dragovic (Perlman), New York Cop Nick Cassidy (Lundgren) kills Dragovic's beloved son in a tense shootout. After Dragovic weasels his way out of police custody, he comes after Cassidy, destroying his house and attacking his family. The assault leaves Cassidy shaken and determined to exact revenge, going outside the law in his mission for retribution. Travelling to Cambodia, Cassidy crosses paths with young Thai detective Tony Vitayakul (Jaa), but the pair are reluctant to trust one another.

It's clear that Skin Trade genuinely is a case of "If you want something done right, do it yourself." Lundgren initially penned the screenplay all the way back in 2007, and when the film finally came together, the actor maintained plenty of responsibility, serving as a producer on his pet project, though he left directorial duties to Thai filmmaker Ekachai Uekrongtham. Skin Trade unfolds pretty much as you would anticipate, fulfilling perfunctory story and character development before getting into the relentless action sequences. There are a few twists and turns throughout the narrative, but it thankfully never devolves into convoluted nonsense. At 90 minutes, this is a beautifully lean movie, and, surprisingly, the ending is not an outright happy one; it's open-ended, which both reinforces how many souls are lost due to human trafficking, and leaves room for a sequel if one is ever ordered (which would be an enticing prospect).

Today's action movies are digital all over, with movies like Battle of the Damned and Blood of Redemption even stooping to the offensive level of digital muzzle flashes (no blank rounds are fired anymore), and with CGI blood rearing its ugly head in most every recent action movie. Thankfully, Skin Trade is more old-school; performers are visibly shooting blanks, and bullet hits are practical. It's such a small thing, but it's rarely done correctly, hence the effort is very much appreciated. Moreover, while there may be digital touch-ups here and there, nothing looks phoney or outright CGI. Hell, there's even a helicopter crash during the finale which looks like the result of practical effects! Most of the explosions and flames look real, too. Skin Trade is very much an '80s movie in spirit, though its tone is perhaps more dour than most productions from that era. While the dialogue doesn't sparkle as brightly as something like Lethal Weapon, there are a few nice one-liners peppered throughout.

The action as a whole in Skin Trade is satisfying, with shootouts, chases, and some hand-to-hand fights, all of which were pulled off with sufficient panache by director Uekrongtham. We can actually see what's happening, and the body count is pretty considerable. Unlike the PG-13 family-friendly flicks we see so often, Skin Trade is a hard R, almost effortlessly so, pulling no punches in its depiction of graphic violence or the bleak realities of the human trafficking industry. There are even a few gory deaths that left this reviewer giddy with joy. Furthermore, production values are strong considering the production's reported $9 million budget, with slick visuals courtesy of cinematographer Ben Nott (Predestination, Daybreakers). Skin Trade is a theatrical quality actioner, and it certainly deserves a wide cinema release more than some guff that has polluted multiplexes recently.

Tony Jaa was grossly misused for his English-language debut in Furious 7, lost amid a congested ensemble cast where he was unable to do much. But Jaa's second billing here is appropriate, as he is indeed allotted a major role in the proceedings. His acting is admittedly a bit stilted and lacking in confidence like most Asian performers making their English debut, but he compensates for these shortcomings with his insane fighting skills. The Ong-bak sequels and The Protector 2 were unforgivable, with the latter actually featuring some piss-poor fights, but the throwdowns in Skin Trade are awesome. A brawl with Lundgren is admittedly a bit over-edited, but it's brutal and viscerally exciting nevertheless. But the jewel in the movie's crown is Jaa's one-on-one with Michael Jai White - both men are proficient real-life fighters, and their battle is incredible, with smooth camerawork properly showcasing the respective abilities of the two men. It's certainly better than anything from last year's The Expendables 3.

Dolph often puts more effort into his performances if he directs the picture as well. Although he only produced Skin Trade, the project was very close to his heart, resulting in a very focused performance here that ranks among his best in the last couple of decades. It's a suitable role for the Dolphster, and he runs with it. His pain is very evident when he loses his family, and he seems visibly affected as he looks upon the women and children locked up in cages (Dolph has said that, to get into character, he thought about how he would feel if his young daughters were in there). Dolph interacts well with Jaa, and the rest of the actors submit solid contributions across the board. Perlman is a borderline cartoon, but in a good way, and he's a terrific villain. Rounding out the cast are Weller and White, who are a bit underused but nevertheless hit their marks confidently.

With a bigger budget and an extra hand in the scripting department, Skin Trade could have been a profound action-thriller akin to Blood Diamond. As Dolph himself admits, though, the finished product is vehemently a violent action fiesta, albeit one with a bit more on its mind than your typical B-movie. It fulfils its modest ambitions, and does so without the usual pitfalls associated with modern DTV productions. It's clichéd and silly, and some moments are a tad awkward, but on the whole, it's a wholesome, entertaining action movie, and that's exactly what I wanted.

7.2/10

"It's good to cry. It separates us from the animals. Shows you have a soul."

There was once a time when a new Kevin Smith project was cause for genuine excitement and curiosity, with the indie filmmaker churning out a steady stream of clever comedies in the '90s, beginning with his breakout effort Clerks. But starting with the 2010 turkey Cop Out, Smith's flicks have become less and less impressive, and his downward spiral continues with 2014's Tusk, a movie based on a random conversation from one of Smith's many podcasts. Smith evidently wanted to craft an earnest, Cronenbergian body horror movie in the vein of The Human Centipede about a guy transforming into a walrus, but he does not quite have the skill to get there. Rather than an earnest, honest-to-goodness, bad yet incredible find of a gem, Tusk is a slickly-produced, highly calculated attempt at factory-building an artificial version of what amounts to found art. Amusing schlocky horrors need to happen by accident - fake versions like this simply do not work. At the beginning of his career, Smith compensated for lack of budget and style by writing sparkling dialogue and engaging comedic vignettes, but now he creates polished, crisp visuals supplemented by shoddy writing.

A podcaster, Wallace (Justin Long) and partner Teddy (Haley Joel Osment) run the Not-See Podcast, which celebrates and mocks viral videos and eccentric people. Seeking to interview a peculiar young man who recently became internet famous, Wallace travels to Canada but finds that he's too late. Scrambling to make something of the expensive trip, Wallace spies an ad in a men's room which piques his interest, and travels to the middle of nowhere to meet enigmatic raconteur Howard (Michael Parks). Before long, Howard drugs Wallace, handicapping him to prevent him from escaping the estate. As it turns out, Howard has plans to turn his victim into a kind walrus from his past. But Wallace's disappearance soon attracts the attention of Teddy and Wallace's girlfriend, Allison (Genesis Rodriguez), who travel to Canada and enlist the help of a private detective (Johnny Depp) to find their friend.

Like Red State, Tusk is more effective in its early stages. The story's set-up works to some extent, and there are notable scenes bolstered by the stylish photography which makes terrific use of shadows. It would seem that Smith was endeavouring to prove that he could be a legitimate filmmaker, taking the patently ludicrous concept with a straight face...for a little while. Smith eventually shifts gears to settle into a more comedic, screwball tone, and this is a big problem - the comedy falls completely flat (which is hugely alarming in a Kevin Smith movie), and it does not successfully coalesce with the dour, gritty horror tone. It's all over the shop. And even though the photography is incredibly slick throughout the first two acts, the entire enterprise is still rather bland overall. Smith's attempt at generating chilling horror amounts to a lot of indulgent chatter and plenty of grimness - but it's not especially scary, nail-biting or even chilling. Rather, it's just pretty fucking dour.

Impossibly, the biggest problem here is Depp, who sneaks his way into the project to place forth his most insufferably grating performance to date. Quirky characters are Depp's modus operandi, but he's way out of his depth here, with a faux French(?) accent and exaggerated mannerisms growing incredibly annoying, as if he were the retarded brother of Inspector Clouseau. (A scene of Depp interacting with Parks, who disguises his voice, goes on too long and made me want to hit the mute button.) Oddly, Smith's entire filmmaking style suddenly changes with Depp's introduction, giving over to campy, oddball theatrics (scored to Fleetwood Mac, of all things) rather than the patient, quietly sinister atmosphere that Smith was apparently aiming for in the first half. Worse, the final scene tries to add some profundity to the proceedings, but it's enormously ineffective.

When Smith finds a thespian that he likes, he hangs onto them for dear life, with Parks leaning on exactly the same style of acting that characterised his Red State appearance. But just like Red State, Smith is so enamoured with Parks' monologues that he simply must let the man talk and talk to no end. Tusk runs 100 minutes, but it could have easily been trimmed to 80 minutes if only Smith was more disciplined towards Parks (and Depp, for that matter, whose introductory scene also drags on past its natural closure point).

Credit is due, though, to the astounding make-up effects, with Long convincingly turned into a sea creature as a result of some gruesome surgery. Long sells the hell out of the material, with his incredible ego showing through in the early stages as a podcaster with legions of fans before becoming outright terrified as he falls into Howard's hands. And as a walrus? Long does well. The rest of the cast hit their marks effectively enough, with a now grown-up Osment borderline unrecognisable as Wallace's partner in crime. Ultimately, however, Tusk is a big swing and miss. Smith had announced that he was going to produce Clerks 3 before retiring from the filmmaking business because he did not feel he had any talent, but Tusk reignited something, and now he seems determined to further tarnish his reputation. Tusk is the beginning of a "Canada Trilogy" for Smith, with other entries set to land over the next few years. Whatever Smith is trying to get out of his system, I just hope he does it quickly.

5.1/10

"This time it ain't just about being fast."

Franchise fatigue is beginning to set in with 2015's Fast & Furious 7 (or Furious 7, continuing the tradition of confusing and inconsistent titles), the latest entry in this long-running series of car-based blockbusters. After the franchise received a fresh boost of life with the unbelievably great fifth instalment in 2011, the cookie-cutter formula is becoming stale once again, even though there's fresh blood in the form of Australian horror luminary James Wan replacing series mainstay Justin Lin. It's impossible to review Furious 7 without discussing its troubled production - originally set for release in 2014, less than a year after Furious 6 hit multiplexes, the team lost star Paul Walker to a fatal car crash before filming wrapped, leaving Wan and returning screenwriter Chris Morgan to figure out how to complete the picture without its long-time lead. Furious 7 is fundamentally review-proof since it fulfils all that's required of it, but at this point in the series, a little more effort would be appreciated.

After his brother was paralysed and left in hospital following the last adventure, master black ops assassin Deckard Shaw (Jason Statham) is determined to exact revenge on Dominic Toretto (Vin Diesel) and his crew. Shaw makes his presence known with a bang, putting Agent Hobbs (Dwayne Johnson) in critical condition and sending Han (Sung Kang) to the morgue before setting off a bomb in L.A. that almost kills Dominic, his sister Mia (Jordana Brewster), and his old pal Brian (Walker). Into the fray soon steps Mr. Nobody (Kurt Russell), an enigmatic government agent who enlists the help of Dominic and co. to retrieve the powerful God's Eye program designed by a hacker named Ramsey (Nathalie Emmanuel). If they help out Mr. Nobody, they can use the God's Eye to find Shaw. Thus, Dominic and the usual suspects - including Roman (Tyrese Gibson), Letty (Michelle Rodriguez), and Tej (Ludacris) - head overseas, but they are unable to escape the shadow of Shaw, who enlists the help of terrorist Jakande (Djimon Hounsou) and his team of gunmen.

Statham is a tremendous villain who represents a major threat to the cast, and his abilities are showcased in a vicious early brawl against the behemoth Hobbs. But Morgan's screenplay doesn't trust in the standard revenge formula, concocting an overly convoluted storyline involving a high-tech device and a team of terrorists led by the vaguely-defined Jakande, who's naturally out to kill Dominic's crew and obtain the God's Eye. Such secondary content was evidently included to allow for high-speed heist sequences and other sorts of car mayhem that we have come to expect from the series, but it feels too forced and leaden as a result, in need of snappier pacing and a stronger sense of urgency. (And seriously, the car stuff might be this franchise's bread and butter, but it is starting to get old.) Plus, the crew are only out to retrieve the God's Eye to make it easier to track down Shaw, which seems superfluous since he's perpetually showing up wherever they go.

Furious 7 is the longest entry in the franchise so far, clocking in at a colossal 140 minutes, and it certainly feels its length. Morgan, who has written all instalments since Tokyo Drift, sticks by all the proverbial franchise chestnuts, giving the cast ample time to grunt atrocious dialogue at each other (every second word is still "family") in between all the big action sequences. Diesel takes the lead here and does most of the heavy lifting, which may have been out of necessity after Walker's death, paving the way for the actor to take over the franchise.

The major selling point of this saga has always been its reliance on practical effects and real car stunts. If anyone were to continue this tradition, it would be Wan, a man from the school of low-budget filmmaking whose previous action outing, Death Sentence, was vehemently old-fashioned. Unfortunately, Furious 7 is more reliant on CGI, which detracts from the sense of excitement. Sure, there are still impressive car stunts here, and people are still risking their lives for various shots, but there are also digital effects here, and they are obvious.

Thankfully, there are nevertheless some entertaining action sequences to behold, most notably when Wan leaves the cars and allows the characters to engage in fisticuffs and shootouts. Statham is a gifted fighter, and he's well-matched with both Johnson and Diesel. To Wan's credit, the fights are not one-sided - Statham is not some untalented patsy but a genuine threat who matches his opponents every step of the way. To spice up the action, Thai martial artist Tony Jaa shows up as an enforcer for Jakande who mostly brawls with Walker. It's a bit of a throwaway role, and Wan doesn't take full advantage of Jaa's immense talents as a fighter, often burying the action in edits and frenetic camerawork. It defeats the purpose of casting Jaa, really. MMA star Rousey shares a similar fate, and to make matters worse, she is a truly terrible actress, showing once again after The Expendables 3 that she cannot cut it as a thespian.

The big question on everyone's lips is how Walker is treated, with scenes filmed following his death featuring body doubles (most notably Walker's brothers) sporting a digital face. To the credit of the filmmakers, it is seamless, and it's never entirely clear when we're seeing a CGI Paul, but his presence is definitely dialled down; he's mostly in the background or shrouded by low lighting or restrictive camera angles. Luckily, Wan and Morgan have devised a fitting, respectful exit for Walker's Brian, with a loving tribute to the actor which closes the feature that may leave some with damp eyes. Some have decried that it's impossible to watch Walker in precarious scenarios driving real fast due to the circumstances of his tragic death, but Walker would likely be insulted by such haters - this is what he loved doing, and it's an appropriate end for his career.

Furious 7's cast is genuinely tremendous, with a lot of big names to stir up interest. Beyond the usual crew, there's Statham, Russell, Hounsou, and the aforementioned Jaa and Rousey. Say what you will about Statham's acting abilities, but he excels as an action star and has a strong screen presence. As the villain here, Statham is perfect, with a steely, cold demeanour making him spot-on as a ruthless military-trained killer. The Stath is so perfect, in fact, that you could be forgiven for rooting for him. Russell, meanwhile, is ideal here, showing that he still has what it takes to be a badass despite his advanced age. As for the returning cast, the likes of Walker, Rodriguez and Brewster are just fine. Tyrese Gibson, however, once again shows up as the try-hard comic relief, and he's awful. Surely there are sufficient funds in the budget for an actual comedian? Meanwhile, despite being such a major presence in the past couple of instalments, Dwayne Johnson is side-lined for most of the proceedings here, leaving us to suffer through scene after scene of Diesel, who is not an overly interesting or competent actor. Since the movie's events are tied into Tokyo Drift, Lucas Black returns as Sean Boswell, but his presence is mercifully short, amounting to a mere cameo. Black was intolerable in Tokyo Drift with his exaggerated American drawl, so it's a relief that he doesn't join the team or become a lead here.

Cars go real fast, explosions are big, and action is, well, furious, but Furious 7 is never hugely involving at any point due to its complicated, leaden storytelling. It's a typical Hollywood big-budget blockbuster, though at least it's not as abominable as Michael Bay's regular output. It would seem that Fast Five, in the long run, is more of a lucky fluke than genuine franchise revivification.

6.1/10

"Just because it's what's done doesn't mean it's what should be done!"

Cinderella represents the next step in Disney's master plan to create live-action motion pictures from their vast catalogue of animated classics, following in the shadow of Alice in Wonderland and last year's Maleficent. Directed by Kenneth Branagh (Thor, Jack Ryan: Shadow Recruit), this Cinderella is easily the strongest upgrade so far, a dazzling fairytale with charm, heart, and intimacy to supplement the mandatory spectacle. Giving the reigns to Branagh certainly seems like a head-scratcher at first glance, yet he's the perfect man for the job, resulting in one of the most convincing fantasy films in years. Often low-key, the movie is not smeared with a disgusting amount of digital effects, and it manages to be child-friendly without directly pandering to the younger demographic. In fact, without the Disney branding or the aggressive marketing campaign, 2015's Cinderella could almost be an arthouse release. Sure, it has anthropomorphised mice and other fantastical touches, but Branagh doesn't overdo it, nor does he slather the movie in excess - effective drama and genuine feeling are the order of the day here.

The narrative remains virtually untouched, with scribe Chris Weitz creating a fairly traditional updating of Disney's animated film from 1950. Ella (Lily James) becomes an orphan following the death of her beloved parents (Hayley Atwell, Ben Chaplin), left in the care of her not-too-kindly stepmother Lady Tremaine (Cate Blanchett). Under Tremaine's regime, Ella is forced into hard labour, becoming a lowly maid for her stepmother and two grotesque step-sisters, Anastasia (Holiday Grainger) and Drizella (Sophie McShera). During a chance meeting with handsome royal prince Kit (Richard Madden), they form an instant connection, with the pair longing to see one another again. When the king (Derek Jacobi) encourages Kit to marry, a ball is arranged, with every woman in the kingdom invited to attend in order for the prince to choose a future queen. With Tremaine forbidding Ella from attending the ball and undermining her confidence, Ella's Fairy Godmother (Helena Bonham Carter) is called upon to help the girl reunite with the charming young man she wishes to marry.

Essentially, Branagh and Weitz have merely set out to tell a familiar story in a competent manner, and by all accounts, the end result is a resounding success. Anyone who’s intimately acquainted with the source material will not find many surprises here, but this is about the best live-action retelling of the fairytale that anyone could realistically expect. The most impressive aspect of the screenplay is that it gives unexpected depth to the characters; Kit and Ella do not fall in love out of Disney formula, but rather out of mutual attraction that develops organically. Moreover, Ella is not even aware that Kit is a prince during their first meeting; her heart aches for him not due to his royalty, but due to his personality. The romance is surprisingly poignant under Branagh's careful eye, and that climactic glass slipper moment is a joy to witness. Additionally, Weitz's script expounds upon a few aspects of the Cinderella story that we do not always see - including how Ella gets her Cinderella nickname - and there is an unexpected twist of conspiracy at the heart of the search for the prince's bride-to-be. Thus, while there are small alterations to the source, Branagh's treatment remains respectful and traditional.

Rather than the punishing grimness of Snow White and the Huntsman or the glossy, plastic look of Maleficent, Cinderella is more like a Shakespearean drama, reminiscent of Branagh's earlier features. As a matter of fact, the film is less successful when the trademark Disney touches pop-up, most notably in a scene featuring the Fairy Godmother that's much too broad. For the most part, however, Cinderella works. Beautifully lensed with 35mm film, the movie is endowed with a convincing look that serves the production well. Maleficent's digital look was a massive problem, as it was impossible to buy the fantastical world as real. But with a fine grain structure and a reliance on sets and costumes, Cinderella's fantasy world looks and feels real. It's rare to label any $95 million motion picture as modest, but this truly applies to Branagh's film; the budget certainly isn't as high as Maleficent ($180 million), Alice in Wonderland ($200 million) or Oz the Great and Powerful ($215 million). There is not a great deal of CGI here which is a massive advantage, as the small digital touches subtly enhance the visuals without calling attention to themselves.

Although there has been a lot of press about Lily James' impossibly thin figure, her grounded depiction of Cinderella is a huge asset to the film. There's superb humanity to her performance, as she comes across as a strong female trying to make the most of a bad situation while trying as hard as she can to retain her personal integrity and show kindness. Most of all, James possesses the beauty, grace and radiance to be a believable Cinderella. Alongside her, Madden is a terrific love interest, with a down-to-earth quality that makes him instantly sympathetic. He has no interest in the wealth or prestige of royalty, which is why he tries to hide his status from Cinderella when they first meet. Meanwhile, Blanchett's turn as the wicked stepmother is absolutely spot-on. At face value, her villainy is pure black-and-white, but there is some actual depth to the character, with justification for her rotten behaviour. Jacobi also deserves a special mention; he has little screen-time as the king and it feels like a throwaway role, but it's hard to imagine the movie being so spectacular without him.

As a little bonus for those venturing to cinemas, the movie is preceded by Frozen Fever, a short movie featuring the characters from Disney's 2013 hit Frozen. It's a sweet, charming short sure to please fans of the animated gem, featuring a new song that kids may be humming for days. It's fortunate that the short was attached to a movie as utterly satisfying as Cinderella, which should please the kids and not leave adults constantly staring at their watches. Other recent fairytale adaptations have been revisionist, but Cinderella is staunchly not revisionist, which is quite refreshing. It may seem paint-by-numbers, but Branagh infuses the story with emotion, which makes for rewarding viewing. With its gorgeous production design and ornate costuming, Cinderella is a joy, and its brisk ninety-minute runtime and competent pacing ensure that there's no narrative flab here. Indeed, the time simply flies by.

8.3/10

"I have lived most of my life surrounded by my enemies. I will be grateful to die among my friends."

It's undeniable that 2014's Guardians of the Galaxy represents Marvel Studio's most left-field production to date. Adapted from a mostly obscure Marvel series that has existed in various incarnations since the 1970s, this is not so much a superhero movie but rather a science fiction space opera closer to Star Wars than Iron Man. In truth, nobody expected much from Guardians of the Galaxy, and yet it's easily one of the best pictures in the Marvel canon, a riotously irreverent action-comedy set in a richly-textured, fully-realised world teeming with memorable characters and witty, humorous dialogue - the type of playful, jubilant and emotionally satisfying ride that once defined summer blockbusters before punishing grimness and bloated runtimes became so prevalent. Furthermore, it will be easy for non-Marvel fans and even non-comic book fans to engage in this quirky gem.

Abducted from Earth as an child right after the death of his beloved mother, Peter Quill (Chris Pratt) now roams the galaxy as a self-styled outlaw calling himself Star-Lord. Working for the Ravagers, led by the brutal Yondu (Michael Rooker), Quill happens upon an orb that's worth a mint and contains a source of devastating power. Also determined to retrieve the orb is green alien Gamora (Zoe Saldana), the adopted daughter of mad titan Thanos (Josh Brolin) who's in league with the incredibly dangerous Ronan (Lee Pace), another party interested in the orb. Meanwhile, goofy bounty hunters Rocket (Bradley Cooper) - a genetically-engineered raccoon - and Groot (Vin Diesel) - a tree-like humanoid with a limited vocabulary - are out to score big by capturing Quill. Amid the chaos, Quill forms an unlikely alliance with Gamora, Rocket and Groot, who are soon joined by the brute Drax (Dave Bautista). With so many evil forces out to use the orb to rule the galaxy, the reluctant team take it upon themselves to see that it doesn't fall into the wrong hands.

Guardians of the Galaxy was in good hands with writer-director James Gunn (who retooled the original script by Nicole Perlman), an underrated indie helmer from the Troma school of filmmaking. Most indie or foreign directors relinquish artistic integrity in their move to Hollywood, but Gunn's quirky fingerprints are all over Guardians, with shrewd humour and delightfully oddball characters within a cleverly-designed narrative which finds time for world-building and character development without ever becoming drab. It all expectedly builds to a trademark Big Noisy Climax that doesn't feel entirely essential to this story, but Gunn never lets the picture out of his control; although the digital effects are often obvious, it's easy to get invested in the battle due to the hugely charismatic cast that we ultimately grow to care about, and because of how intense this final showdown truly is.

There's plenty of information floating around the margins that fans will recognise as having been set up before or set to pay off later, but it's possible to actually care about it all in this context. While Guardians of the Galaxy is highly amusing, the movie at no point devolves into an utter joke, as there are genuine stakes here. Threats are real, drama feels genuine, and there is emotional depth to the crew - Rocket is distressed about being perceived as an animal, Gamora is desperate to escape the shadows of Ronan and Thanos, Drax is haunted by the death of his family at the hands of Ronan, and Quill will risk his life for his beloved Walkman, which represents his last connection to his time on Earth. There's vivid realism at play here, and Gunn never gives into excess; he maintains a furious pace, and infuses the production with plenty of awe and excitement. It's an ideal way to kick off a fantasy franchise, and it puts the horrendous Star Wars prequels to shame.

Backed by a customarily generous budget, Guardians of the Galaxy looks and sounds superb, with top-flight digital effects and equally extraordinary make-up work and sets which give this fantasy wonderland a semi-realistic look. Gamora was originally intended to be pulled off with motion capture, but Saldana was instead given an elaborate make-up job. Likewise, Bautista was covered in practical make-up effects to portray Drax. It's a great move in the long run, bestowing the characters with a tangible quality that CGI simply cannot achieve. And while Rocket and Groot were digital, they are miracles of motion capture and voice work; it's simply amazing how much dramatic range Gunn manages to get out of them. And as the cherry on top, the picture is scored with a tastefully-selected buffet of songs from the '70s and '80s, amplifying the production’s unique and quirky flavour. Guardians of the Galaxy has achieved something rare by providing a hugely effective soundtrack of old tunes, bringing them back into the limelight for a new generation accustomed to autotuning and dubstep. It further underscores the production's old-school sensibility, and it helps that each song is so perfectly integrated into the proceedings. Tyler Bates’ original compositions aren’t nearly as memorable, but they are effective.

Emotion eventually sneaks into the proceedings, but it's not distracting or contrived. Rather, it flows organically from this story. Therefore, even the most ostensibly clichéd story beats do not come off as cliché in the slightest; they work. And ultimately, that’s what matters in a motion picture of this ilk. You can be forgiven for shedding a few tears as the movie approaches its finish line; personally, I left the cinema with a smile on my face and damp eyes. Who the hell can complain about that?

The actors are the real high point of the entire enterprise, with absolutely no weak spots in the ensemble to speak of. Chris Pratt is an ideal Star-Lord, mixing equal parts Sterling Archer and Philip J. Fry to play this outlaw. It's amusing to watch Pratt as Quill, who tries so comically hard after his capture to embody a grade-schooler's idea of a badass space hero even when he's hopelessly out of his depth. Saldana is just as good, and Gunn manages to pull a remarkable performance out of wrestler Bautista, who’s a comedic instrument of blunt force to be reckoned with. Diesel is about as good as can be expected for a character who says the same few words over and over again, while Cooper gives real spark and spunk to Rocket.

Ronan has been branded as an unmemorable villain by some, but he's easily one of the more successful bad guys we've seen in the Marvel canon (certainly better than Jeff Bridges in Iron Man or the notoriously vanilla antagonists in Thor: The Dark World). As Ronan, Lee Pace is authoritative and menacing. We are also given our first glimpse of Josh Brolin as Thanos, and it is awesome. Filling out the supporting cast, there's the underrated Michael Rooker who's an absolute riot as Yondu, while John C. Reilly, Benicio del Toro, and even Glenn Close make appearances.

Guardians of the Galaxy is not only hugely entertaining viewing - it's also incredibly rewarding. Its combination of well-judged classic tunes, a perfect cast and unforced emotion just comes together amazingly well, and its replay value is through the roof. In fact, if anything, the flick improves with repeat viewings. It's a fun, hearty afternoon at the movies for all ages, and it is highly recommended.

9.5/10

"Crime does not pay."

Fortress is an epically manly classic from the golden age of cinematic mandom. A prison break action-thriller, it possesses all the right ingredients for an entertaining slice of escapism, with an imaginative vision of a dystopic future, a superb cast containing a few action genre luminaries, and an R rating in place allowing for plenty of satisfying violence and salty language. Fortress started life as a generously-budgeted vehicle for Arnold Schwarzenegger, but the Austrian Oak instead opted to star in Last Action Hero, provoking budget cuts. Nevertheless, the ensuing feature is more than adequate, and although it's not exactly thought-provoking or deep, it's a perfectly sufficient beer and pizza extravaganza.

In 2017, overpopulation has led to drastic population control measures. It is illegal for couples to have more than one child, and the harsh police state enforces this rule with an iron fist. John Brennick (Christopher Lambert) and his pregnant wife Karen (Loryn Locklin) are on the run, with Karen carrying an illegal second child after the tragic loss of their first. Apprehended at the border, the pair are given cruel sentences at an inescapable maximum security prison known as the Fortress, which is run by the sinister MenTel Corporation. Highly advanced technology litters the prison, with a computer known as Zed-10 that can monitor dreams and peak into the thought processes of prisoners. It's impossible for inmates to escape, too, as they are all implanted with a device in their intestines that gives them severe pain if they act up, and can easily kill them if needs be. Overseeing the prison is Poe (Kurtwood Smith), a megalomaniacal warden who immediately notices John. With John separated from Karen, he begins to formulate a plan to escape the appalling hellhole with assistance from his cellmates.

Director Stuart Gordon (late of Re-Animator) embraces the B-grade pedigree of the production, creating a trashy action-thriller with some fascinating ideas at its core. Dreaming is forbidden and even fantasising is grounds for pain, not to mention the heroes have to contend with some genetic engineering run amok. Granted, Fortress is a bit slow-going to start with, but once it settles into its groove, the movie really soars with scenes of fighting, gunplay and over-the-top gore, the likes of which we rarely see in the 21st Century. Even the scores of prison movie clichés do not hinder the experience much, though there are a lot of them, including standard-issue stock characters and some pretty clichéd moments. It comes with the territory.

Filmed entirely at Warner Brothers Studios in Australia, the production design remains solid all these years on, with interesting ideas relating to the picture's vision of the future. Zed-10 is a particularly magnificent creation, and the situation with the characters seems so hopeless that you wonder if it's even possible for them to break out. The titular Fortress indeed seems like pure hell, and it makes for a terrific stage for the inevitable escape which serves as the climax. The action-heavy final third is definitely worth all the build-up; it's loud, fun, and above all violent, ticking all the requisite boxes for action fans. Fortunately, the acting is for the most part agreeable, with Highlander star Christopher Lambert doing an admirable job as the hero here. It's Smith who steals the show though, again demonstrating his terrific acting chops when it comes to playing villains. Vernon Wells (of Commando and Mad Max 2 fame) is also present here, and his throwdown with Lambert represents one of the best scenes in the picture.

Today, Fortress remains an exceedingly niche title with a limited cult following, which is a shame. At the time, it was actually a surprise hit, grossing a reported $40 million at the global box office, a decent haul for the early '90s considering its $12 million budget. Perhaps Fortress might've been more fulfilling if it had explored its themes and ideas with more depth, but the brevity of the enterprise is what makes it such a fun watch. It's a fairly silly, old-school sci-fi action-thriller from a bygone era, and it absolutely deserves to be seen if you enjoy the likes of Total Recall and The Running Man.

7.9/10

"This is the story of a dead man..."

Blood of Redemption is another in a long line of shitty straight-to-video action titles that are sold purely on cast. Directed by Giorgio Serafini and Shawn Sourgose, this bargain basement guff flaunts Dolph Lundgren, Billy Zane, Robert Davi and Vinnie Jones, enough names to raise the eyebrow of any action fan. And with a title like Blood of Redemption, you're guaranteed to sell a few discs. Alas, the finished product is a putrid pile of shit, a cheapo distraction that was manufactured without any thought towards coherent screenwriting, stylish photography, or exciting action scenes. It's a woeful slog.

Although Blood of Redemption tries to rise above the ordinary with its convoluted plotline involving all manner of double-crosses and shady loyalties, it's hard to make heads or tails of anything that is happening. Lundgren plays a gun-for-hire named Axel, who's hired by Quinn Forte (Zane) to systematically wipe out the men who landed him in prison. But of course, there are twists, and the movie seems to reject intelligible storytelling. For crying out loud, the flick opens by showing the climactic action scene before flashing back a couple of weeks, to Axel chatting to a girl in his apartment about various people...and from there, the movie flashes back even more. Wait, what's happening in this movie? It doesn't help that the dialogue is so fucking lousy, with dreadful narration from Mr. Lundgren that's meant to be profound and badass, but instead comes off as obvious and amateurish.

The screenplay rejects logic, as well. This is one of those productions that feels to need to zoom in on every actor and freeze-frame while big, bold computer graphics spell out their character's name. It's a movie where FBI files are in paper format, and can disappear without a trace by simply burning said files. Apparently, the FBI is not advanced enough for a computer database just yet. Oh, and Axel has a bulletin board featuring images of suspects and pieces of information, with push pins and red string to figure out the case...but his laptop remains unused. And when the action scenes do arrive, slow motion is often used for brief periods, because reasons. It's clear the directors wanted to establish some sense of style, but the movie is not stylish at all - it just looks dumb and incompetent.

Even worse, it's clear that nobody ever fired a single blank round throughout any of the film's numerous action sequences, and it's doubtful any practical fake blood was actually used on set. Every muzzle flash, puff of smoke and bullet hit is purely digital, and blood splashes are so fucking phoney and obvious - clearly the result of a few minutes' work in Adobe After Effects. Even amateur filmmakers with access to After Effects are capable of more impressive CGI compositions. One hole in somebody's head looks like it was drawn using Microsoft Paint, for crying out loud. Holy shit. Although the R rating is appreciated, there's no visceral impact to any of the action scenes. You can literally watch superior shootouts for free on YouTube.

With film stock now too expensive for straight-to-video moviemakers, Blood of Redemption was lensed digitally, and the results look undeniably cheap. While the cinematography is crisp and detailed enough, it lacks the professional "pop" of more generously-budgeted productions; as a result, it comes off like a low-grade student movie. At least low-budget actioners from the '80s and '90s were shot on celluloid and featured performers who fired actual blank rounds as well as stuntmen who put their lives on the line for the sake of a shot. There's something endearing about old-school effects as opposed to phoney digital shit. Now, any talentless amateur can put together a nasty video distraction for a few bucks, and clog the already oversized market with such shit.

The Dolphster gives it his all here, and he's probably the movie's sole bright spot. Even despite his age, he remains a charismatic screen presence and a joy to watch in action movies, which is why it's such a shame that the material fails to serve him. Zane and Jones, meanwhile, are both pretty terrible - Zane puts in zero effort, and Jones leans on his British tough guy shtick that's growing old. And it's actually depressing to see Davi here, who's visibly bored and humiliated about featuring in this garbage. Davi was a sublime action villain back in the '80s (Licence to Kill), yet he's horrible here, apparently aiming for a British accent for whatever reason that comes and goes.

Blood of Redemption might run a brisk 85 minutes, but it feels a lot longer; I actually felt myself aging while watching it. I can easily sit back and view a movie like Saving Private Ryan without glancing at my watch once, but Blood of Redemption feels like an eternity despite running for half the length of Saving Private Ryan. The last line of the movie is "Next time, I'll choose my clients more carefully." Here's hoping that Dolph and his pals choose their projects more carefully from now on...

2.9/10

"All right, boys, it's Howdy Doody time."

Cold in July is a far superior motion picture than its humble pedigree suggests. An independent production, it only received a limited theatrical release in America and went straight-to-video in most other territories around the world. Yet, this intricate crime thriller stands as one of 2014's most nail-biting and riveting features, far more deserving of a wide audience than a lot of the garbage that polluted multiplexes throughout the year. Directed by Jim Mickle (Stake Land), Cold in July is a screen adaptation of Joe R. Lansdale's 1989 novel of the same name, telling a bleak tale set in the American South. Mickle makes the most of whatever resources he had at his disposal - Cold in July is teeming with atmosphere and tension, benefitting from the director's deft filmmaking sleight of hand. It's superb cinema.

In small-town Texas in 1989, Richard (Michael C. Hall) works as a picture framer, making his unremarkable living to support his wife Ann (Vinessa Shaw) and young son Jordan (Brogan Hall). In the early hours of the morning one night, Richard hears a commotion in the living room, which leads to him shooting and killing an intruder. With the burglar identified as a wanted felon, Richard is hailed as a hero by the locals, but he's shaken by the incident, disturbed that he has taken a life. Soon, the dead man's father, Ben (Sam Shepard), shows up out of nowhere, lurking around and making vague threats, which puts Richard on edge. Although the police set out to protect him and his family, some question marks in the police work begin to trouble Richard. Things are further complicated with the arrival of private detective Jim Bob (Don Johnson), who helps to shed light on the mysteries that trouble Richard.

At first, Cold in July shapes up to be a revenge movie of sorts, with Ben ostensibly determined to harm Richard and his family in response to the death of his son. Mickle dabbles in outright horror in the opening act, and the results are gripping to watch. But with the arrival of Jim Bob, the movie evolves into something entirely different seemingly out of nowhere, and it's a huge credit to Mickle and co-writer Nick Damici (who also plays a detective) that the transition is so seamless. Although the set-up is not exactly groundbreaking at first glance, the twists and turns bestow Cold in July with more originality than lazier forays into the thriller genre. Besides, it's the sense of atmosphere that makes the picture so memorable and mesmerising.

Retaining the novel's time period, Cold in July is set in 1989, and it actually feels like a product of the '80s. Period costuming and sets (not to mention odd hairstyles) populate the frame, the colour scheme is reminiscent of '80s movies, and the flick is complemented by a beautifully retro, synch-driven score by Jeff Grace which was visibly inspired by the works of John Carpenter. The illusion would perhaps have been better served if Mickle shot the movie on film stock rather than with digital cameras, but this barely matters in the grand scheme of things. Cold in July is one of 2014's manliest movies; it's vehemently R-rated, with violence that pulls no punches and men who talk like real men. The finale is especially stunning, as the picture climaxes with a brutal, white-knuckle shootout that brings the story to a haunting end.

Hall began work on Cold in July soon after wrapping up the TV show Dexter, perceiving the movie as an opportunity to try something different, expand his range, and avoid being typecast. Frankly, it's difficult to imagine any other actor playing this role as successfully as Hall, who's highly convincing every step of the way. He sells Richard's fear and anxiety, on top of coming off as a believable father and husband. Yet, it's also understated work, and Hall is perfectly supported by both Johnson and Shepard, who submit truly brilliant performances. They're both manly as fuck.

It's difficult to pigeonhole Cold in July into any one genre. Mickle mixes elements of film noir, thrillers, detective stories, police procedurals and revenge flicks with a smidge of horror, but it cannot be strictly classified as any of the above. The movie is its own unique creation, a distinctive feature that deserves to be seen for its top-notch cinematic technique and a host of sublimely focused performances from some of the finest thespians working in motion pictures today. It's truly saddening that it will probably remain an obscure cult curiosity despite the tremendous critical acclaim it rightfully received.

8.9/10

"In a bar, I once saw him kill three men... with a pencil."

Let's not mince words here: John Wick is the best action movie of 2014. Confidently belying its modest budget, the movie easily surpasses the year's CGI-infested blockbusters and superhero offerings, and even tops more old-school actioners like The Equalizer and Fury. Here is a lean, adrenaline-charged 100-minute thrill ride which understands economical storytelling, disposing of superfluous narrative tangents to focus on what matters. John Wick is a B-movie at heart, and on the surface may look like an unremarkable straight-to-video endeavour, but the execution is flawless, with miraculously choreographed action scenes and exceptional stunt-work elevating this brutal revenge flick into the stratosphere. Add to this a spot-on performance from Keanu Reeves, an R-rating and a well-judged screenplay, and this is a fucking badass movie. It's pure ecstasy that action fans will go gaga over.

A retired underworld assassin for the Russian mafia, John Wick (Reeves) tragically loses his wife to cancer, but she leaves him one last gift: a puppy for companionship. As John struggles to work through the grieving process, his life is thrown into turmoil again when his classic car is stolen and his pup is killed by Iosef (Alfie Allen), the son of powerful Russian kingpin Viggo (Michael Nyqvist). Learning of his idiot son's actions, Viggo immediately realises that his entire operation is now under threat of being obliterated by the most dangerous man alive, and tries to come to a peaceful arrangement with John. However, John is focused on retribution, prompting Viggo to call in as many heavily armed men as he can to take down the killing machine as quickly as possible.

John Wick is one of the purest action flicks of recent years, but its taut disposition doesn't mean that plot is neglected. On the contrary, the action-free opening act is a masterpiece of economy, establishing Wick's character and situation mostly through images rather than words. But once Wick is wronged and the beast is unleashed, the flick roars to life, and the result is something to behold. Too many action movies are bogged down by humdrum love stories or other attempts to humanise the central hero, slowing the pace to a drag and denying us the pure testosterone boost we seek. But John Wick has no need for this brand of malarkey, which is another reason why it's such a breath of fresh air. With his wife dead, the titular assassin doesn't get involved with any other women, and he's so skilled that he only rarely finds himself out of his depth.

Some may decry that John is too unstoppable, but I'm personally sick of seeing "badass" heroes being captured or beaten within an inch of their life. John does receive a few injuries here and there, but for the most part he's supremely confident - and I found this quality both refreshing and satisfying. Above all, it's executed in a believable fashion. Furthermore, John meets an array of friends throughout the movie who are wholly aware of his abilities and reputation. Fellow killers and even police officers are wary to engage Wick, respectfully leaving him alone as he conducts his business. Such touches give the production a gorgeous flavour, provoking a few welcome moments of dark comedy to lighten up the violent affair.

The sheer excellence of the action sequences cannot be overstated; they are orgasmic. John Wick denotes the directorial debut of David Leitch and Chad Stahelski, two stuntman who have evidently learned from the best during their respective careers. The shootouts here are mostly devoid of shaky-cam and rapid-fire editing, with the directors instead adopting a wonderful arrangement of smooth camera movements and some astonishingly artistic tracking shots. John Wick wears its R-rating on its sleeve, as well; it's a beautiful antithesis to all of the politically-correct PG-13 action flicks that continually inundate today's cinematic marketplace. Loud, savagely violent and hugely satisfying, all of the movie's action scenes absolutely shit on the likes of Live Free or Die Hard, The Expendables 3, Terminator Salvation, and the RoboCop remake. Admittedly, there are a few evident instances of digital bloodshed, but the CGI doesn't look overly phoney and it's not distracting. Rather than looking like a post-production paint job, the blood is effectively integrated into the various environments.

Reeves has had his ups and downs as a thespian; despite a strong performance in The Matrix, he's bloody awful in motion pictures like Dracula and Johnny Mnemonic, and he's known for being wooden. John Wick, however, plays to Reeves' strengths, showing that he has more skill than his detractors are probably willing to admit. Reeves is cut from the same mould as Jason Statham, with minimalistic dialogue and a focus on physical action scenes, and the star absolutely nails it. He needs more roles like this. Fortunately, the supporting cast is just as impressive, with the likes of Willem Dafoe, John Leguizamo and Ian McShane all hitting their marks with confidence. Nyqvist is also effective as the leader of the Russian gang, while Game of Thrones luminary Alfie Allen convinces as the daft, overconfident young man who awakens the beast within Wick.

John Wick plays out with the same verve as the "one man army" action movies from the 1980s, but with a contemporary polish. If you enjoyed the likes of Taken, Punisher: War Zone or Safe, you will definitely enjoy this deliriously entertaining slice of big screen escapism.

9.2/10

"People, they love blood. They love action. Not this talky, depressing, philosophical bullshit."

It's frankly miraculous that a motion picture like Birdman can sneak its way into theatres in this day and age. Subtitled The Unexpected Virtue of Ignorance, this audacious, modestly-budgeted indie could never have been produced within the Hollywood system without major changes that would have relinquished the feature's integrity. It may essentially be an "art house" flick, but Birdman is incredibly compelling and possesses the guts to explore big ideas relating to the Hollywood process, actors who are passed their prime, and, most impressively, the critiquing of film and theatre. Directed and co-written by Alejandro González Iñárritu (late of 21 Grams and Babel), this is easily the filmmaker's most accessible work, though it's unclear just how well it will play with more mainstream viewers.

Decades ago, actor Riggan Thomson (Michael Keaton) was popular and rich, riding high on his success of playing the superhero 'Birdman' in the first three movies of a lucrative Hollywood franchise. Still struggling to escape from the shadow of Birdman, Riggan puts everything on the line to produce a Broadway production, adapting Raymond Carver's short story What We Talk About When We Talk About Love for the stage, with co-stars Lesley (Naomi Watts) and Laura (Andrea Riseborough) on hand to support the undertaking. However, the show - which is perceived as something of a vanity project - is waist-deep in problems, with actor Mike Shiner (Ed Norton) proving extremely difficult to work with, and with technical issues galore. Adding to the pressure are some mounting legal troubles, a lack of money, and the presence of Riggan's daughter Sam (Emma Stone), who's struggling with post-rehab life. All Riggan can do is attempt to hold himself together as he's haunted by voices in his head and deals with those around him who pose a threat to the show's success.

Birdman's central hook is that it's edited to give the illusion that it was captured in one single, unbroken tracking shot, though it does not unfold in real time - hours and days pass seamlessly as the camera moves from one place to another. Happily, it works, and it's a magnificent feat on the part of Iñárritu and cinematographer Emmanuel Lubezki (Gravity).

An anonymous quote is taped to the mirror in Riggan's dressing room which reads: "A thing is a thing, not what is said of that thing." It's an interesting quote that invites rumination, and, indeed, one of the movie's most pivotal scenes observes Riggan speaking his mind to a cynical theatre critic, slamming a review she's penning by pointing out that her writing is nothing but a chain of labels backed up by her own potentially meritless opinion, arguing against the need for reviewers and, by extension, negating the need for this review. Nevertheless, as the quote says, a thing is a thing, and calling reviews futile is just a label for these particular things, isn't it? Phew. Still with me? Some will label Birdman as pretentious due to the subtext at play here, but is it really fair to call a movie pretentious when it satirises and mocks pretentiousness? Sure, the movie may be a bit on the pretentious side, but it is fun.

It's challenging to pigeonhole Birdman into a single genre, as it almost defies explanation. It's perhaps best described as a philosophical dramedy with fantastical elements and meta overtones (Riggin has a number of fantasies throughout). The movie also feels very much in line with the works of Iñárritu, as some of the more dramatic moments do hit hard, and you get the chance to feel every ounce of pain experienced by the troubled ensemble. However, Birdman is not as dour as 21 Grams or the borderline intolerable Babel - it often plays out with dark comedy elements. The story eventually comes to a head for a rather unexpected ending that's not entirely satisfying since it's open for interpretation (like any art house feature...), but it is fascinating and could have been a lot worse.

After viewing Birdman, I did wonder what the feature would have been like if the single-take approach had been jettisoned. However, it's difficult to imagine the film being as remarkable, fast-paced or technologically extraordinary if it was produced more conventionally. Furthermore, restricting the scope and being unable to move outside the theatre often renders Birdman more intimate, heightening the effectiveness of this story. After all, Riggan is the central focus, and the camera never drifts from him very far, allowing this examination of Riggan's breakdown to really take flight. Added to this, plays on Broadway are performed live, hence the appearance of the bulk of the movie being one take ties in with the nature of a live Broadway show, even if there are hidden cuts and scenes that would have taken many, many takes to perfect. It's fortunate that the execution is so seamless; we never see any crew members, lighting rigs or dolly tracks, nor do we see palpable reflections of any camera equipment, even though scenes frequently take place in front of mirrors.

Naturally, the parallels between Keaton and his character are readily apparent, as Keaton was a big star after having appeared in Batman and Batman Returns as the titular superhero, and since then has never been quite as successful. This is the thespian's first leading man role in a while, and it's possibly the best performance of his whole career. It's a multi-tiered part, and Keaton handles the various aspects with utmost confidence; he's a wonderful on-screen presence and a joy to watch. Fortunately, the supporting cast is just as solid, particularly Zach Galifianakis as Riggin's lawyer, putting the Hangover-style monkey business behind him to play a dramatic role and pulling it off remarkably well. Who knew he could play anything besides a buffoon? Also of note are Naomi Watts and the lovely Emma Stone, the latter of whom again proves that she's both gorgeous and talented. Meanwhile, Norton is an absolute hoot playing the conceited, much-loved theatre actor who's recruited to fill a sudden vacancy and immediately begins trying to exert control over the entire production. Norton's character is extremely volatile as well, and it's amusing to watch the former Hulk here since he has such a reputation for being difficult to work with.

The intense character study at the centre of Birdman draws you in while you also marvel at the extraordinary technical achievements. Iñárritu really had his work cut out for him, and the quality of the finished product speaks volumes about this talented filmmaker. Of course, it will not work for everybody - anyone expecting Keaton to recreate Batman or engage in action or stunt-work will need to maintain an open mind here and let Iñárritu plot his own unique, breathtakingly unconventional path. For this reviewer, it definitely works.

8.7/10