This is a film I first viewed a while and I intended to feature it on a Short Film Saturday and this is the most opportune time. This is an early animated short by Tim Burton that features voice over narration by Vincent Price. I think I hardly need say more to convince you to play it.
Intorduction
For an introduction to the concept of 61 Days of Halloween, and a list of previously featured films, please go here.
To Let (2006)
This is perhaps the hardest of the series to write about. Juame Balagueró is a filmmaker whose work, form what I’ve seen (which is a handful of his titles), I usually like. He has a way of layering his tales, a disturbed sensibility (essential for horror) and usually paces his tales very well. This is not the film to watch if you want to see that statement exemplified, however.
As has been a pattern in posts about these films there had been much discussion of pace because when the running time is something outside the norm then the film needs to do something outside the norm to make it work. This does not. It is the shortest of the six films and feels like it’s the longest by far. There are both editorial and narrative reasons for that.
However, pace is not the only issue this film has. This film has a fairly outrageous premise, which in and of itself isn’t a problem, especially for a horror film. However, it’s one that’s fairly well telegraphed. Only the details are twists. There is in a film like this a “get outta there” element that has to be dealt with. And it is, but the turns it takes make it further and further insane, aside from the fact that they occasionally waste time in an already short yet long-seeming film.
For a tale such as this one to work the acting has to be spot on and it’s perhaps the least effective in the entire series, which contributes to the telegraphing that this woman plans to keep this couple as long as possible, whether they like it or not.
But wait there’s more, it’s also visually disturbing in the wrong way. There is excessive and artless jiggly-cam at the most inopportune moments.
I could go on to further enumerate the faults I find with the film but that would become tiresome. Needless to say this is one of those movies where even the more basic things like business (the actor’s actions) are poorly staged and executed. If you were to skip just one of the six films this would be it.
Introduction
This is another post that was intended as a Mini-Review Round-Up entry, but then grew legs and so I decided to post it separately.
Personal History
To be completely honest, though I knew about the upcoming slate of 30 for 30 films for this fall; I was caught unaware by this installment of the ESPN Films series under the banner of SEC Storied.
And apparently this was not the debut installment, but rather part of plan to have four conference-specific titles per year. However, when the subject of the Manning family came up it’s not a wonder that I heard about about it and then saw the documentary.
It’s only now with hindsight that I could see that my fascination with this family has gone on longer than I realized. I was too young to witness Archie Manning’s career as it was happening, but I remember seeing footage of the fleet-of-foot gunslinger left on an island and run ragged when playing for the mostly hapless New Orleans Saints. In fact, in my nameless-player, league-branded NES game he was a large reason I “created” my own similarly gifted and bedraggled field general for the same team.
Later on I, of course, became aware of Peyton in his college days and when he joined the Colts, though I am not a Colts fan, that would be the team I’d most consistently watch (besides the my own) to see him play. Peyton Manning is must-see TV.
Almost anyone can note how the story of the Manning family, at least in football terms, is like a fairy tale. However, it becomes a bit more so in my case. Of course, part of the fascination in watching Peyton play is not just his prowess, but a bit of envy, “Why can’t my team’s quarterback be just a little like that?”
I became even more aware of the fact that Eli was a college quarterback than I was of Peyton. Partially because he was the little brother. I think he was a sophomore when the pipe dream of his ending up on the New York Giants entered my mind and I laughed it away as an impossible notion. In fact, I never entertained it as something tangible until rumors started coming around about his not wanting to play in San Diego.
I can’t remember who else was in the running but the Giants weren’t the only team to need a quarterback that year, but were the only one’s who could pull the trigger on the deal. Eli Manning was a quarterback for the New York Giants something less than two years after I had the crazy idea. Not only that but later that same ill-fated 2004 season I lucked into a ticket for a late-season, virtually meaningless game against the Atlanta Falcons. Eli’s first start was a close-run loss wherein I screamed myself hoarse. After that history it’s not a wonder I was one of his few staunch-yet-silent-supporters as he and the Giants struggled to get their bearings. Despite the start to this season, two borderline-miraculous Super Bowl runs later, what’s not fantastical in that story?
The Film
As intimated above the footballing aspect of the Manning family seems to be a fairly tale. Yet I long ago learned of the unfortunate circumstances Cooper Manning faced in his freshman year of college. However, what makes this an interesting tale is that there are in Archie and Cooper’s stories highly unfortunate events. The first molds Archie in his personal life as a man, the next fuels Peyton in his will-to-win on the field.
So there’s a redemptive aspect to Peyton’s section of the film. Yet, although brief there is one to Eli’s as well because of the perceived slight the state of Mississippi felt that Archie and Peyton had levied upon them. Though there was no such slight and the reasoning each had for their actions were justified.
In editorial terms there is a slightly repetitious nature to the film. However, that’s one of the few things you can quibble about. There are a few brief, well handled re-enactments. The stills, pictures as well and the one-on-one interviews give you a more complete version of the tale than if there had just been game footage involved.
The college football, the Southeastern Conference, slant on the story allows it probably a better structure than one that took in more of each of the three pro careers involved and it ends up working better for it.
I could almost disqualify myself from a rating based on the aforementioned personal history, but you can consider that the grain of salt portion of the review. It still does work and I think, since it is a family story even more than a football one, and Olivia is interviewed quite a bit as well; non-fans will also enjoy it.
Here’s my standard intro to this post:
I had quite a review drought to end 2011 so I think the remedy for this kind of post would be to have the post be cumulative monthly. Therefore, after each qualifying film a short write-up will be added to the monthly post. The mini-reviews will be used to discuss Netflix and other home video screenings. Theatrical releases, regardless of how they are seen whether in an auditorium or on VOD, will get full reviews [That is when deemed necessary. As I wrote here I do want to focus more on non-review writing wherever possible].
For a guide to what scores mean go here.
The Book of Manning
This review was not-so-mini, you can find it here.
The Almost Man
The man-child has been the topic of comedies, and discussed in film writing, for most of the history of cinema. The brand of childishness in these men changes as society does. The recent trend is skewing toward adolescent man-children who still have the same sense of humor, a similar outlook on the world, and terrors as children do at that formative time (where some grapple with those issues persist into adulthood). Few films have likely, and none that I’ve seen or can think of, taken this character/problem type to a seriocomic place with such commitment and results.
If I had to venture a guess I’d say it’s the inciting incident of this film where (the event that propels the story and sparks conflict) most audience members will go along with or abandon it. If you go along with it and focus on characters, especially Henrik (Henrik Rafaelson), specifically what they want and how they go about trying to get it; then you’ll get into the film. The handling of it is mature even if the act was not: it’s about “what now?” and not “why?” A crossroads has been reached, and, thus, the struggle; the delicate balance of finding true adulthood without losing oneself, begins.
Rafaelson is especially impressive because it’s one thing to play an overgrown goofball and get laughs and another to then get introspective dour and try to assume new responsibility and maturity. He achieves both and engenders empathy as well.
This film is a briskly told tale is one that never feels insincere whether in its stasis (when the young couple enjoys one another’s company and is content to lark about), or later when there is an ebb-and-flow, an attempt to change. Likewise, the film does not end with an insincerely sudden fairy-tale ending, but rather, at a new beginning; the dawn of a new-found maturity.
8/10
Free Spirits
The difference this ESPN 30 for 30 doc and any other that this is the first to deal with one of the maverick sports leagues of the 1960s and 1970s. While there was already a USFL doc, the ABA and AFL had not been addressed. Of course, the USFL merging with the NFL was never a possibility. This film tells the tale of the Spirits of St. Louis, one of the two teams left out in the cold when the ill-fated league merged with the NBA.
The film mainly just traces the short, but significant two-year history of the team. The reason they were not absorbed, is not really a mystery. However, though there is an abrupt shift in gears late in the game (though the writing is on the wall throughout) the surprise this film has in store is the fallout and windfall from the non-merger.
It seems some of these docs thrive because of their running time and others could use a little more. This one would’ve been served by a little more of a lead-in, but it still tells its tale well.
7/10
Big Shot
Growing up in New York, but being a New York Ranger fan I was only vaguely aware of the fiasco that was John Spano’s scam to try and purchase the New York Islanders. However, after being fully informed of all that went on here I can say that no team or its fans (no matter how big an arch-rival) deserves to go through this, especially when you consider that the league was at least partly to blame.
Actor-turned-director Kevin Connolly would’ve already scored in my book by not only giving appropriate background on what the Islanders were very early in their existence, but also how they declined, and that he had seen the best and worst of times. However, where the film transcends that is that he actually got to sit down with the man himself and not only faced him in as respectful a fashion as you could ask for, but allowed him to tell his story about how this all happened, and explain (to the extent possible) what he was thinking when things went down.
It’s the kind of story that could only be true and it’s a truly brilliantly rendered account of it quite-nearly blow-by-blow with many of the most concerned parties involved.
10/10
No Más
I am glad I sought other reviews before sitting down to write this one. In doing so I discovered that the director of this film also directed Renee, which could still be the greatest 30 for 30 installment yet. And he has also covered boxing before. That gives me some perspective but still leaves me perplexed and greatly disappointed.
Firstly, there is a question of balance: whereas the most recent installment, which I will discuss below, evenhandedly presents interpretations of the career of a controversial figure. This one becomes skewed down the line. Both fighters (Leonard and Duran) are introduced. However, after the infamous incident (wherein Duran quit during the rematch), and many theories are examined to no satisfactory conclusion; the film takes a few odd turns.
In one turn, Leonard (at least based on the way this story I knew the bare minimum about) comes off almost like a sore-winner who never faced any backlash for that fact. Almost like the antithesis of Mary Decker Slaney in terms of public perception.
This shift is a weird occurrence because the film, based on what footage they do have, is seeking a resolution and an answer. Yet, it becomes increasingly apparent that no new or publicly acceptable version of why Duran quit would surface. Despite that there they are face-to-face in a boxing ring in the present day, talking in a highly staged manner, and when Duran is giving at least a more detailed version of his truth than he ever told his audio is drowned out for Sugar Ray’s take on it and how he was able to (eventually) let it go.
I’m not saying I believe Duran’s story or questioning Leonard’s right to a vantage point, but in documentary terms starts to bang its head against the proverbial wall insisting on its interpretation of events being told.
At this point in the series a mediocre doc would be the worst 30 for 30, but this one sadly isn’t even good because of its insistence on seeking an absolute truth and its skewed narrative.
4/10
This is What They Want
Here’s a 30 for 30 that deals with something I witnessed, at least in part, and still have images of seared on my mind’s eye. How final the run was at the time was something I didn’t realize but I knew I liked Connors, and I’m glad that this documentary spent at least some of its time discussing his oft overlooked prowess which is lost amidst his antics, perception and longevity.
As mentioned above, the film is evenhanded. It neither paints Connors as seen through rose-colored glasses nor does it judge. Certain things said about him by other subjects are related back to him and he responds and then the ball is in your court.
However, a bulk of the narrative is chronicling how a 39-year-old Connors (a feat that will likely never be duplicated) made it all the way to the semifinals of the US Open in 1991. It focuses most on the Patrick McEnroe and Aaron Krickstein matches, but also has great insights to the Paul Haarhuis and Jim Courier match-ups.
There are cinematic elements that take this film to another level from the edit (how it humorously illustrates certain perceived notions), the music that underscores the emotions of the film beautifully and the persistent flow. Furthermore, as you might expect from a film crowded with former players, analysts and writers there are great insights for the fan of the game and the layman alike; as well as some illuminating nuances of tennis explained that differentiate it from other sports.
This is What They Want, much like Connors’ improbable run that year, is quite nearly immaculate.
10/10
As I have mentioned in the past, the only time I will stray from writing directly about film on this site is only in such a way that it still ties back to film. Therefore, when I was informed about Janice Lee’s book Damnation, I had to jump at the chance. Damnation is a book telling a fragmented narrative through prose poetry influenced by the works of filmmaker Bela Tarr. Tarr being the renowned Hungarian filmmaker (He also recently won BAM Awards for Best Director and the Lifetime Achievement Award).
Usually, I approach Prefaces/Forewords and Afterwords/Appendices as optional, however, they come most highly recommended in this book. They are quite informative with regards to the process and have great insights into the work, and Tarr as well.
That’s not to say that the narrative cannot stand alone. In fact, if you are familiar with Tarr this is a tale you’ll definitely enjoy a great deal. However, something that is referenced in the afterword, written by collaborator Jared Woodland, is of note: he refers to this work being one in “the genre of Bela Tarr.” That is a most astute encapsulation, not only of the book but of Tarr’s work; for the true greats seem to work in an arena all their own.
As I read it, I found that although the book is called Damnation it culls influence from many of his works to form this story, and sure enough in the back it lists the references as four films (Damnation, Satantango, The Werckmeister Harmonies and The Turin Horse). It also struck me that since this is a pastiche, my long-burning question about what the best introduction to Tarr would be has found an answer, and it is Damnation by Janice Lee.
However this book is not inundated in its influence. For in any work that’s considered an homage there has to be some personality or spin from the author herself to make it work, and this book absolutely has a personal touch. It paints with Tarr to tell the author’s tale.
Any cinephile, whether familiar with his work or not, should enjoy the book as well for the poetical styling of the prose; the images wrought play out like a film. Scenes begin and are cut, and one can see the cuts within scenes. It’s a living embodiment of Eisenstein’s theory of poetry as a verbal montage.
The tale-such-as-it-is is interesting. It’s phrased as such because the narrative doesn’t follow a conventional form. There are incremental repetitions of locales and characters, who all have designated labels rather than names. However, it’s also because Tarr created stories-such-as-they-are. The works referenced especially are multi-character tableaux wherein the personages ruminate on the various existential and metaphysical questions at play.
The book offers neither setting nor location to lend it a timeless quality, as it follows the universal theme of decay. Yet, even with this tonal portrait of the commonality of disintegration, it’s still a page-turner, and not just for the cinematic elements within for there are many equivalencies in the writing technique that make it a cinematic as well as a literary document.
One way in which the flow is manipulated is that towards the end the vignettes become smaller and intensify. This portrait of a dying town on the verge of apocalypse, painted in labels, inviting involvement/creation, is quotable and filled with descriptives of sound again making it audiovisual, but passages about stench and texture bring you into a literary realm anew. Its staying in the present tense and insisting that you proceed, without stopping; also makes it cinematic.
Tarr may have just recently retired, but aside from the work he is doing to teach young filmmakers at his school, his legacy can be felt here, and in the countless other artists he will continue to inspire. The obsession for Lee and Woodland isn’t over either, for they are currently writing a book on Tarr’s long takes in Satantango. So aside from a work of fiction he inspired there will now be a scholarly, cinematic work on one of his masterpieces.
It’s a joy, and not a wonder, that sketches of frames (re-created storyboards) from Tarr’s films are found in the appendices of the book as well. For the book is not only drawing from said images but expounding on them, creating new ones; a new tapestry. The power of Lee’s work is as undeniable as the films that inspired her and are truly a gift to us all. Do yourself a favor and seek this book out, you’ll be glad you did.
For more information on Janice Lee you can visit her website. Damnation is available for (pre-)order at Amazon here.
Introduction
For an introduction to the concept of 61 Days of Halloween, and a list of previously featured titles, please go here.
Sisters (1973)
One of the good things about going off a list, at least in part, to decide on viewing options is that it allows for more occasions for you to be a blank slate. A lot of the selections I’m seeing for this year are from Stephen King’s list of the best horror films from 1950-1980 that he included in his book Danse Macabre. I have replicated the list on my Letterboxd page (check it out!).
When I received Sisters from Netflix I knew it was De Palma and before Carrie and that’s all I could remember. Thankfully, the synopsis on the disc mailer didn’t give too much away.
On a personal note this may be my favorite film I’ve seen that set mostly on Staten Island. I had no idea that was coming and how it’s introduced is great: Danielle (Margot Kidder) is a Quebecois model/actress, and after a gig her and Philip (Lisle Wilson) have dinner and have it cut short by her ex (Emile Breton). Philip offers to take her home. She tells him she lives on Staten Island, and it goes something like this:
“Staten Island?” he says.
“Yes, Staten Island is part of New York isn’t it?”
Philip, smiling, says: “I guess it is.”
I was born in Manhattan, but I spent most of my formative years on Staten Island, and that statement in a nutshell is the conundrum of being from there; that whole “We’re New York too, dammit” subtext. A short exchange of dialogue encapsulates it on both sides.
Personal baggage aside, Sisters is a great little gem. I use that term because it starts with a fairly small series of events one after another that slowly turn in to a much bigger plot than was intimated at first. The simple Hitchcockian mystery element gets more byzantine as it progresses; even throwing some last second misdirection, making certain things even weirder than they are.
The first suspenseful passage features, yet another recently-viewed example of, a great use of split-screens. It’s a film that’s tied up in the psychology of its characters, their relationship to one another and secrets buried in the past.
In a certain way there were also parts of it that reminded me of Cronenberg as there were weird, significant things afoot with few characters noticing or being affected.
With scoring by the legendary Bernard Herrmann this film is quite the riveting pulse-pounder with a few jaw-dropping moments in store for those who do see it.
Last year I had one massive running list and it became very cumbersome to add to, and to read I’m sure. By creating a new post monthly, and creating massive combo files offline, it should make the process easier for me and more user-friendly for you, the esteemed reader. Enjoy.
Eligible Titles
The Book of Manning
Cloudy with a Chance of Meatballs 2
Metallica: Through the Never
The Almost Man
Romeo and Juliet
Machete Kills
League of Denial: The NFL’s Concussion Crisis
Captain Phillips
Big Shot
No Más
Free Spirits
Gravity
The Stream
Carrie
Escape Plan
Paradise: Faith
Jug Face
Haunter
Bad Grandpa
The Counselor
Stitches
Mother, I Love You
This is What They Want
Enough Said
The Almost Man
Romeo and Juliet
League of Denial: The NFL’s Concussion Crisis
The Counselor
The Almost Man
Mother, I Love You
Last year this was an omitted category, due mostly to the fact that too few total candidates existed to make the slate feel legitimate. I will hope to be able to rectify that this year.
The Book of Manning
League of Denial: The NFL’s Concussion Crisis
Big Shot
Most Overlooked Film
As intimated in my Most Underrated announcement this year, I’ve decided to make a change here. Rather than get caught up in me vs. the world nonsense and what a film’s rating is on an aggregate site, the IMDb or anywhere else, I want to champion smaller, lesser-known films. In 2011 with the selection of Toast this move was really in the offing. The nominees from this past year echo that fact. So here, regardless of how well-received something is by those who’ve seen it, I’ll be championing indies and foreign films, and the occasional financial flop from a bigger entity.
Machete Kills
The Almost Man
Romeo and Juliet
Mother, I Love You
The Almost Man
Machete Kills
Romeo and Juliet
The Counselor
Mother, I Love You
Solvei Grimen Fosse The Almost Man
Hailee Steinfeld Romeo and Juliet
Amber Heard Machete Kills
Sandra Bullock Gravity
Maria Hofstätter Paradise: Faith
Lauren Ashley Carter Jug Face
Vita Varpina Mother, I Love You
Julia Louis- Dreyfus Enough Said
Dane DeHaan Metallica: Through the Never
Henrik Rafaelsen The Almost Man
Douglas Booth Romeo and Juliet
Tom Hanks Captain Phillips
Danny Trejo Machete Kills
George Clooney Gravity
Nabil Saleh Paradise: Faith
Michael Fassbender The Counselor
Ross Noble Stitches
James Gandolfini Enough Said
Laura Morante Romeo and Juliet
Sofia Vergara Machete Kills
Julianne Moore Carrie
Natalya Baranova Paradise: Faith
Penelope Cruz The Counselor
Cameron Diaz The Counselor
Toni Collette Enough Said
Catherine Keener Enough Said
Thomas Arana Romeo and Juliet
Barkhad Abdi Captain Phillips
Demian Bichir Machete Kills
Mel Gibson Machete Kills
Paul Giamatti Romeo and Juliet
Rene Rupnik Paradise: Faith
Steohen McHattie Haunter
David Hewlett Haunter
Javier Bardem The Counselor
Tommy Knight Stitches
Thommas Kane Byrnes Stitches
Ben Falcone Enough Said
Best Performance by a Young Actress in a Leading Role
Hailee Steinfeld Romeo and Juliet
Noura Jost The Stream
Chloë Grace Moretz Carrie
Abigail Breslin Haunter
Best Performance by a Young Actor in a Leading Role
Jacob M. Williams The Stream
Kristofers Konovalovs Mother, I Love You
Best Performance by a Young Actress in a Supporting Role
Eleanor Zichy Haunter
Kelianne Coughlan Stitches
Best Performance by a Young Actor in a Supporting Role
Kodi Smit-McPhee Romeo and Juliet
CJ Diehl The Stream
Michael Capperella The Stream
Alex Maizus Jug Face
Peter DaCunha Haunter
David Knoll Haunter
Jackson Nicholl Bad Grandpa
Matis Livcans Mother, I Love You
Ryan Burke Stitches
The Almost Man
Machete Kills
Romeo and Juliet
Paradise: Faith
Haunter
Bad Grandpa
The Counselor
Mother, I Love You
Stitches
Enough Said
Romeo and Juliet
The Stream
Haunter
Mother, I Love You
Stitches
The Almost Man
Machete Kills
Haunter
Mother, I Love You
Stitches
Enough Said
Cloudy with a Chance of Meatballs 2
Romeo and Juliet
Haunter
The Counselor
Romeo and Juliet
Captain Phillips
Machete Kills
Gravity
The Stream
Haunter
The Counselor
Mother, I Love You
This is What They Want
Cloudy with a Chance of Meatballs 2
Romeo and Juliet
Captain Phillips
Gravity
Escape Plan
Jug Face
Haunter
The Counselor
This is What They Want
Stitches
Captain Phillips
Gravity
Jug Face
Haunter
This is What They Want
Stitches
Romeo and Juliet
Gravity
Escape Plan
Paradise: Faith
Haunter
The Counselor
Mother, I Love You
Stitches
Romeo and Juliet
Machete Kills
Escape Plan
Paradise: Faith
Haunter
The Counselor
Mother, I Love You
Stitches
Romeo and Juliet
Machete Kills
Haunter
The Counselor
Stitches
Romeo and Juliet
Machete Kills
Bad Grandpa
The Counselor
Stitches
Machete Kills
Gravity
Haunter
Cloudy with a Chance of Meatballs 2
Metallica: Through the Never
The Almost Man
Haunter
Mother, I Love You
Enough Said
Introduction
For an introduction to the concept of 61 Days of Halloween, as well as a list of previously featured titles, please go here.
Seed of Chucky (2004)
With Seed of Chucky I went in expecting next to nothing based on what occurred the last time around. What I got in it was surprising, if not redemptive. The film series that in Chucky’s first not-targeting-a-kid film felt a bit unbalanced. Here, albeit further out on a cliff, with still some head-scratchers and eye-rollers (it really wastes some time at the beginning) the film goes into a full-on-meta rendition, after it hinted at a world wherein Chucky (as well as Jason and Michael Myers) were real.
Jennifer Tilly’s involvement here makes much more sense because it gives her plenty more to do (being both onscreen and working voice) and is an appropriately self-deprecating, yet oddly reverential work for her. Also, striking mostly correct and humorous notes are the participation of Redman and John Waters, two men whom I never believed I would put in the same sentence together.
While the Glen or Glenda homage here is subtler and more clever than the Bride of Frankenstein in the previous installment, it may have been the only thing subtle about the entire thing. It does become more and more outlandish as it goes but a lot of the jokes and kills work to great effect.
While there is a descent into an unfortunate cacophony of events and screaming there is a some of actual self-exploration by these villains-turned-protagonists. As hard as it is to believe, there is some internal and external conflict in the film about their natures and trying to fulfill their pyrrhic mission of returning to human form.
However, not only do the blunders that hold it back come out far too often, but a lot of the good that’s done towards the middle of the film is undone by the grinding to a halt nature of the climactic sequences as well as what happens in the tag. I grant that to get any enjoyment out of this film at all, you do have to be prepared for any and all kinds of sophomoric, silly content that doesn’t further things too much.
It’s a sequel wherein I didn’t mind the direction it chose to go in at all, it just didn’t get there as well as it could have. It’s also a film in a bit of a catch-22. The prior film of the series crossed a point of no return: the girlfriend was brought into the fold so the direction of the series was altered. This film went further afield so to continue down that road would’ve been foolhardy. It was definitely time for the reset button to be hit after this one if it was to continue at all.
Said direct sequel that, based on reports, goes back to its roots is due out on video on October 8th
So after a longer than expected lay-off here are the latest round of updated posts on the site today. These are all additions to posts that are designed to be frequently updated – or as I like to call them “running posts.” What’s different in this installment is that I added a description of what the updates entail and spaced it more. The next updates will be posted on October 15th, 2013.
Films Viewed in 2013
Over 400 features now!
Favorite Older Films First Viewed in 2013
Now at 60 feature films.
2013 BAM Award Considerations – September
Added two remaining titles to the mix.
Crossed off two; added 14 and so it goes.
Added 15 links.
Mini-Review Round-Up: Late August/ September 2013
Reviewed 5 films to close out the post.
The Movie Rat 