The 33

For F*** Magazine

THE 33

Director : Patricia Riggen

Cast : Antonio Banderas, Lou Diamond Phillips, Jacob Vargas, Juan Pablo Raba, Coté de Pablo, Juliette Binoche, Rodrigo Santoro, Gabriel Byrne, Bob Gunton

Genre : Drama

Run Time : 120 mins

Opens : 19 November 2015

Rating : PG (Some Violence)

From the Atacama Desert in Chile comes the true story of courage and perseverance under pressure and underground. On Thursday, 5 August 2010, a major cave-in at the San José copper–gold mine traps a group of 33 miners 23 000 feet under the surface. The group is led by Mario “Super Mario” Sepúlveda (Banderas) and shift leader Luis "Don Lucho" Urzúa (Phillips). Among the 33 is Álex Vega (Casas), whose wife Jessica (de Pablo) is pregnant with their first child, and the troubled Darío Segovia (Raba), who is on poor terms with his empanada vendor sister María (Binoche). As the loved ones of the stranded miners grow restless with no news on the well-being of the 33, Minster of Mining Laurence Golborne (Santoro) coordinates the rescue efforts, collaborating with chief engineer André Sougarret (Byrne). As the nation of Chile and the world at large rallies around “Los 33”, rescuing the miners becomes a priority for the Chilean government, headed by President Sebastián Piñera (Gunton). In the face of insurmountable odds, faith and blue collar spirit must win the day.

            The 33 is based on the book Deep Down Dark, journalist Héctor Tobar’s account of the 2010 Copiapó mining accident. The film is in the English language and is clearly gunning for mass appeal, couched as an inspirational tearjerker that is a celebration of the “triumph of the human spirit” and all that good stuff. It may seem cold of us to be this cynical, but nearly every move The 33 makes seems right in line with established disaster/survival story formulas. Also, the ordeal was so well-documented that practically everyone who goes to see the film would already know the outcome, and the process leading to said outcome as depicted here is rather tedious. Structurally, The 33 is primarily comprised of a “three steps forward, two steps back” dance of some progress being made, only for the rescuers and/or miners to run into a setback before breaking through again. It gets repetitive rather than riveting the longer it goes on.

            Director Patricia Riggen does make some solid stylistic choices, and even though the 33 miners are cooped up in a small refuge underground, the story does have sufficient scope to it. The scene of the initial collapse is frightening and harrowing and the production values can’t be faulted, with the environment coming across as suitably foreboding. In a bid for added realism, actual news footage is spliced in and Chilean TV present Mario Luis Kreutzberger Blumenfeld, better known as “Don Francisco”, plays himself. The miners’ Catholic faith and how their belief played a key role in sustaining them is also showcased.

            There is a scene in which the exhausted, starving miners fantasise about their loved ones bringing them the favourite foods they have so craved. It is corny and a little silly, but it possesses a combination of warmth, levity and sad longing that lifts the film above the standard tropes it presents us with up till that point. This reviewer found that to be the movie’s single most memorable moment.

            Every time a film based on a true story is made, there must be a bit of a dilemma with regards to casting. While a marquee name draws the crowds, thus drawing attention to the film, this might also pull the viewer out of the story. Banderas does bring plenty of star quality to bear as the charismatic and earnest “fearless leader”, though his performance is a touch theatrical at times. Phillips is something of an underrated actor and he’s excellent here as the second-in-command. Naturally, 33 characters is too many for each to be meaningfully developed, so the fact that most of the miners blend together can’t be held against the film.

            The casting of actors of different nationalities and ethnicities from the real-life figures they’re portraying achieves varying degrees of success. Binoche is commendably convincing, but Gunton’s accent slips a whole lot. Santoro is well cast as the slick Minster of Mining, because we’re conditioned to expect that a handsome government guy in a suit won’t actually get anything done. The interplay between Golborne and head engineer Sougarret is sometimes more interesting than the interaction among the miners themselves.

            There’s a scene around the middle of the film when de Pablo (who is actually from Chile), sitting with others around a fire at the base camp, tearfully sings a ballad expressing how she years for her husband to be returned to her side. That’s only one of many melodramatic moments in The 33. Sure, there are parts that manage to be genuinely moving, but it’s all pretty obviously engineered. Engineered entertainment value is a whole different ball game from engineered pathos. One gets the feeling that this story would be better served by a documentary featuring interviews with the real-life miners, their family members and the engineers and officials who orchestrated the rescue interspersed with re-enactments, as opposed to a generic survival drama movie.

Summary: The true story of the 33 Chilean miners is inspiring, but this film is a rather rote affair that is occasionally lifted by good performances and strong production values.

RATING: 2.5 out of 5 Stars

Jedd Jong  

The Expendables 3

THE EXPENDABLES 3

Director : Patrick Hughes
Cast : Sylvester Stallone, Jason Statham, Antonio Banderas, Jet Li, Wesley Snipes, Dolph Lundgren, Kelsey Grammer, Terry Crews, Randy Couture, Kellan Lutz, Ronda Rousey, Glen Powell, Victor Ortiz, Robert Davi, Mel Gibson, Harrison Ford, Arnold Schwarzenegger
Genre : Action/Thriller
Opens : 14 August 2014
Rating : PG13 (Violence & Some Coarse Language)
Running time: 126 mins

 “If you’re looking to get the job done/ Be it murder or rescuing ladies/ You cannot do better than old guys/ Who were popular back in the 80s…” so go the lyrics to comedians Jon and Al Kaplan’s musical spoof of The Expendables. Those grizzled guys are back with some young blood to add to the crew. Barney Ross (Stallone), Gunner Jensen (Lundgren), Lee Christmas (Stallone), Toll Road (Couture) and Hail Caesar (Crews) break old team-member Doctor Death (Snipes) out of prison. In the ensuing mission, they encounter Conrad Stonebanks (Gibson), a former Expendable-turned weapons and dealer and war criminal, hitherto thought of as dead. Barney brings in a younger bunch of mercenaries (Lutz, Rousey, Powell, Ortiz), with Spanish Armed Forces veteran Galgo (Banderas) insistent on joining. He is also assisted by Trench (Schwarzenegger), Yin Yang (Li) and Major Max Drummer (Ford), going up against the army Stonebanks has in his pocket.

This entire film series exists as a loving ode to 80s action films, featuring those who starred in said films proving they’ve still got the right stuff. As such, there was something of an outcry over this movie’s PG-13 rating – as the Kaplans put it later on in their song, “PG-13 is for pussies”. This reviewer wasn’t too bothered by that – while bloodless, the body count in this one is still very high. Also, the one f-bomb is given to just the right actor. No, this movie’s problems lie elsewhere. Succeeding Stallone and Simon West at the helm is Australian director Patrick Hughes, known for his neo-Western Red Hill. His direction here is mostly rote and journeyman-like; while competent, the action sequences lack flair or drive. There is a curious dearth of urgency or intensity in this action-thriller, even when an actual ticking bomb is introduced. It’s not like there isn’t a lot of shooting, punching or stuff blowing up, but the film often feels like it’s spinning its wheels, going nowhere fast.

            Why do action film junkies go to the Expendables movies? To relive the glory days of their cinematic heroes. As such, anytime the “Young Expendables” are onscreen, this reviewer was counting the minutes to when the actual Expendables – you know, the guys we came to see – would return. Even without Kellan Lutz, Ronda Rousey, Glen Powell and Victor Ortiz, the roster is already pretty crowded. There’s no time for us to get to know anyone and in place of characterisation, there’s bickering, mutual ribbing and general macho bro-ey-ness. We’re not expecting Chekhov or Mamet but just give us something to hang on to! The action sequences are fine, they aren’t infested with shaky-cam as most contemporaneous action sequences tend to be, but the sub-par visual effects work is carried over from the last two films. If it’s meant to evoke the cheap look of 80s action movies, then that’s the wrong nostalgia bone to tickle.

            The film is at its best when it goes for nostalgia in the right way, with its stars winking and nodding at the audience via references to their past work. Snipes’ character loves blades and jokes about being jailed for tax evasion. Schwarzenegger gets to say “get to the choppa!” Kelsey Grammer’s character makes a crack about ex-wives. However, in-jokes alone do not a good movie make. In spite of the humour, this go-round just seems a whole lot less fun. Indeed, Stallone often looks as though he’s grimacing through a heavy, dead-serious thriller. Nothing in this one matches Chuck Norris spouting his own “Chuck Norris fact” in the second film. Also, Harrison Ford does not say “get off my plane”. That’s a missed opportunity right there.

Mel Gibson is apparently paying penance for his myriad indiscretions by appearing in genre schlock like this and last year’s Machete Kills. He does go crazy-eyed Mad Mel but fails to be as memorable a baddie as Jean-Claude Van Damme was. Somewhere between the writing and direction, the potential for Conrad Stonebanks to be a spectacular bad guy is lost. Jet Li doesn’t bust a single kung fu move. What’s up with that? And yes, Ronda Rousey is a badass UFC champion, but this film is yet another example of “The Smurfette principle”, with one lone woman among a bunch of guys. Where are Linda Hamilton, Sigourney Weaver and Michelle Yeoh?

      
      A good chunk of the film seems to exist as a rather petty raised middle finger to Bruce Willis, with whom Stallone had a falling out with over the former’s salary. It’s a good thing then that Harrison Ford is an upgrade and seeing him chew Stallone out earlier in the film is as exciting as the biggest action scenes are. “I haven’t had so much fun in years,” he says. We almost believe him. Antonio Banderas as the talkative comic relief – that’s an odd choice, but he’s still fairly entertaining. The Expendables 3 never amounts to more than the sum of its parts and even when Kellan Lutz’s stunt double jumps a motorcycle off the tail of a crashed helicopter, it falls short of effectively harkening back to the 80s action films it wants to homage.

Summary: There’s less vim and vigour in this third go-round for Stallone and co. and worse, they have to jostle for screen time with those meddling kids.

RATING: 2.5 out of 5 Stars

Jedd Jong

Justin and the Knights of Valour

For F*** Magazine

JUSTIN AND THE KNIGHTS OF VALOUR

Director: Manuel Sicilia
Cast: Antonio Banderas, Freddie Highmore, Saoirse Ronan, Mark Strong, Olivia Williams, Rupert Everett, Julie Walters, Alfred Molina, Charles Dance, Michael Culkin, James Cosmo, Barry Humphries, David Walliams
Genre: Animation
Run Time: 90 mins
Rating: PG
Opens: 14 November 2013

       

     Being the knight in shining armour who will fight for the fair maiden’s honour before taking her to a “castle far away” was cheesy when Peter Cetera sang about it in 1986, and it’s only cheesier now. Soft, sanitized and romanticised medieval fantasy has since been usurped by the likes of Game of Thrones, or has had the mickey taken out of it with comedies like The Princess Bride. Spanish animated film Justin and the Knights of Valour does nothing to make old-timey fantasy adventure cool again.

            Justin (Highmore) dreams of taking up the sword as a knight like his grandfather, the legendary Sir Roland. Of course, Justin’s father Reginald (Molina), chief lawmaker of the land, is adamant that Justin go to law school instead. Encouraged by his kindly grandmother (Walters), Justin heads off to an abbey to train under elderly warrior-monks Blucher (Cosmo), Legantir (Dance) and Braulio (Humphries). He intends on winning the hand of the vapid Princess Lara (Egerton), but is eventually drawn to feisty barmaid Talia (Ronan) of the Broken Eagle Inn. The treacherous disgraced knight Heraclio (Strong) plans to usurp the throne, with flamboyant right-hand man Sota (Everett) by his side. The charlatan Sir Clorex (Banderas), a self-absorbed palace cleaner who poses as a knight, gets mixed up in all this too.

            Justin and the Knights of Valour feels like a third-rate knock-off animated flick that would have been released in the mid to late 90s in order to ride on the Disney renaissance wave and is reminiscent of Quest for Camelot, The Swan Princess and its ilk. If it were any more formulaic, you could bottle it, slap a label on it and put it on a supermarket shelf. The young protagonist who goes against the desires of his parental unit to forge his own path and come of age, the figure from his family past that he has to confront, the wise and somewhat crusty old mentors who take him under their wing, the spirited lass who’s a better companion for him than the spoilt princess….check, check, check and – yawn – check.

            Animation is a medium where it’s particularly obvious when something isn’t of a high level of quality, since every last thing on screen has to be drawn or otherwise animated from the ground up. You can’t go film in the historic train station to add production value with a cartoon. This reviewer will admit that the animation in Justin and the Knights of Valour isn’t quite as bad as he expected – there’s some decent fluid simulation going on – but it’s still bad. We understand it isn’t quite fair to stack Kandor Graphics against, say, Pixar, but there’s such an obvious gap in quality that it’s almost embarrassing.

            There are many poorly-made animated films that somehow rack up an impressive cast, and this film is an example of that to a degree. The voice mix seems to lack a refinement and sticks out more than it should. Freddie Highmore sleep-talks his way through the film, audibly disinterested in the material. Mark Strong’s talents are entirely wasted as an unmemorable villain and Rupert Everett’s performance is so limp-wristed and camp, tents almost sprout up around his character. Antonio Banderas (who also produced this) was far better as Puss in Boots than as the Gaston-esque Clorex. David Walliams is amusing but borders on unbearable as the manic comic relief medium with a split personality. At least Saoirse Ronan and her wonderful Irish brogue seem to be having fun.

“It’s a kids’ film” is not an excuse for bad filmmaking. Justin and the Knights of Valour regurgitates a bog-standard “hero’s journey” plot, combines it with obvious, pratfall-heavy gag-based humour and unengaging animation for a wholly mediocre end result. Alright, the crocodile with the mechanical wings that the monks try and pass for a dragon is funny.

SUMMARY: Persistently uninspired and will be a chore for any parent to sit through. Our sympathies.

RATING: 2 out of 5 Stars

Jedd Jong 

Machete Kills

For F*** Magazine

MACHETE KILLS

Director: Robert Rodriguez
Cast:  Danny Trejo, Michelle Rodriguez, Sofia Vergara, Amber Heard, Carlos Estevez/Charlie Sheen, Lady Gaga, Antonio Banderas, Jessica Alba, Demián Bichir, Alexa Vega, Vanessa Hudgens, Cuba Gooding, Jr., William Sadler, Marko Zaror, Mel Gibson
Genre: Action, Thriller
Run Time: 132 mins
Opens: 17 October 2013
Rating: M18 (Violence and Coarse Language)

Dog goes woof, cat goes meow, bird goes tweet, the mouse goes squeak – and Machete? Why, Machete kills, of course. Everyone’s favourite grizzled ex-Federale - matted hair, perma-frown, moustache, tattoos, signature bladed weapon and all – has returned. Following his appearance in the fake trailer attached to Grindhouse and the 2010 feature film Machete, the character is back – as “Trailer Voiceover Guy” (Corey Burton) might put it – with a vengeance.

Machete (Trejo) and his love interest/partner from the first film, Agent Sartana Rivera (Alba) take on a gang of corrupt U.S. soldiers selling weapons to a drug cartel. The mission goes wrong and Machete is framed for a crime he’d never imagine committing. His chance at redemption? Accepting a mission to take down crazed revolutionary Marcos Mendez (Bichir), on executive command of President Rathcock (Sheen). Machete runs into a colourful rogues gallery, including master of disguise El Cameleón (Goggins, Gaga, Gooding Jr. and Banderas), trigger-happy madame Desdemona (Vergara) and her girls, and Mendez’s towering henchman Zaror (Marko Zaror). Naturally, there’s a mastermind Machete will have to contend with – megalomaniac weapons and aerospace magnate Luther Voz (Gibson). It’s a good thing our knife-wielding hero has allies like Luz (Rodriguez) to count on.



You probably know right off the bat if this movie is for you or if it isn’t. It’s exactly what it says on the tin: an egregiously violent, goofy, gleefully tasteless action exploitation flick, heavy on the CGI blood splatter and low on that pesky sense-making. Nobody can accuse multi-hyphenate director Robert Rodríguez and gang of false advertising. Early in his career, Rodríguez envisioned perennial tough guy (and second cousin of his) Danny Trejo as the Mexican equivalent of an action hero like Charles Bronson or Jean-Claude Van Damme, though apparently he had to pay his dues in Rodriguez’s Spy Kids films first before finally headlining the 2010 flick.

“Sequel escalation” is something moviegoers have come to expect: a follow-up that tries to be bigger, better and more over the top than the first. For better or for worse, Machete Kills is consistent in carrying over the style of the first movie but does try to stretch the scope. For example, while the baddies in the first film were a corrupt senator, his aide and a notorious drug kingpin, the villains here are pretty much old-school Bond bad guys: a supervillain bent on establishing his new world order, a warlord with a split personality, an uber-femme fatale armed with a Gatling gun bustier and a villain remarkably similar to Spider-Man foe Chameleon, right down to the name. It might as well be this way, the levels of incredulity turned up to eleven, since nobody was interested in making a “realistic” film in the first place. If anything’s really out of place, it’s a scene in which Madame Desdemona talks about suffering sexual abuse at the hands of her father. This is particularly squirm-inducing amidst the wanton silliness of the rest of the film.



A top-drawer cast partaking in this veritable orgy of base, pulpy genre hijinks is arguably the biggest reason to check this out. To call this ensemble “eclectic” would be an understatement. Leading the charge is Trejo, who is one of those actors whose aura of badass transcends screen roles and into real life; he probably is pretty much playing himself. The beauty of Trejo’s performance is that he plays it straight as an arrow. Considering how everyone else is given carte blanche to cartwheel all over the place, Trejo’s method is more effective than if he played Machete yelling every line and spouting endless one-liners. Most of his one-liners in the film are some variation on “Machete don’t ____”, taking off the unexpected popularity of the “Machete don’t text” line from the first one.

It might be easy to think that the Academy Award winners and nominees in Machete Kills are doing nothing short of slumming it but gosh darn if they don’t look like they’re having a grand old time. Demián Bichir’s Mendez – noble freedom fighter one minute and genocidal lunatic the next – is fun, but the show does belong to Mel Gibson. It seems he has decided that taking on villainous parts in movies like this and the upcoming The Expendables 3 are a way of paying penance for past indiscretions; Mad Mel putting those crazy eyes to excellent use as a cross between Richard Branson and Moonraker villain Hugo Drax. One of the character’s entertaining eccentricities is a fondness for Star Wars; we’re willing to bet you won’t see Mel Gibson and Danny Trejo sitting in a landspeeder in any other movie.



For everyone who thought Jamie Foxx wasn’t sufficiently believable as leader of the free world in White House Down, take a gander at Charlie Sheen (gamely choosing to be credited by his birth name, Carlos Estévez) as the Prez. There’s the added bonus that his dad Martin Sheen memorably portrayed a U.S. President in The West Wing – insert “George H.W. and George W. Bush” joke here. Where Sheen is, a bevy of beauties is never too far away – Amber Heard, Michelle Rodriguez, Sofia Vergara and Alexa Vega all contributing to the shameless eye candy quotient. Slightly creepy if you realize Rodríguez directed a pre-pubescent Vega in the Spy Kids flicks, and here she is in assless chaps. We are obligated to point out that in spite of adhering to the grindhouse ethos in all other areas, this film lacks the gratuitous nudity of its predecessor. Lady Gaga’s involvement is a piece of stunt casting that doesn’t misfire; she probably is even more outrageous in everyday life than her character in this is anyway.

Machete Kills is so lowbrow that the brows might be mistaken for a moustache. There are those who will view this as worthless trash and others who will go along with the elaborate joke, choose to humour Rodríguez and company and try to have a good time. We can’t say either reaction is totally unwarranted. Oh, and the fake trailer for Machete Kills Again – In Space, with Michelle Rodriguez yelling “eat photons, bitches!” is genuinely funny.

SUMMARY: A second helping of a cheesy, greasy glop of a quesadilla – hold the salad. With Machete Kills, everything depends on if you’re willing to risk indigestion for a guilty pleasure.

RATING: 3 out of 5 STARS

Jedd Jong

Ruby Sparks

For F*** Magazine, Singapore

Movie Review                                                                                                             12/9/12

RUBY SPARKS

2012

Starring: Zoe Kazan, Paul Dano, Chris Messina

Directed by: Jonathan Dayton and Valerie Faris

            All writers know that there’s nothing quite as intimidating as a blank page – this reviewer is faced with one right now. Even the most prolific of writers can get bad cases of writer’s block induced by nothing more than a little white space, and prodigious young novelist Calvin Weir-Fields (Dano) is no exception. At the age of 19, he shot to the top of the New York Times Bestsellers list and captured the imagination of the public, but has had a hard time matching his success in the intervening ten years. His therapist Dr Rosenthal (Elliot Gould) gives him a simple writing assignment to get him going.

            That night, Calvin has a dream in which a beautiful, quirky young woman named Ruby (Kazan) approaches him in the park while he’s walking his dog, and offers to do a drawing of Calvin’s pet pooch. Inspired, he awakes the next morning and writes away. Gradually and inexplicably, personal effects of some non-existent woman pop up in his house, as discovered by Calvin’s concerned brother Harry (Messina) and Harry’s wife Susie (Toni Trucks). Then, the utterly impossible happens – Ruby, the woman who had hitherto only been a product of Calvin’s imagination, materializes before him. Calvin has to come to grips with this absurd turn of events, questioning his sanity and making his brother even more worried, when he realises that whatever he types on his page, Ruby will manifest. In other words (heh), Calvin now has the perfect girlfriend all to himself – but the situation may not be as ideal as he’s imagined once reality sets in. 

            This fantasy romantic comedy-drama is helmed by the same directing duo famous for Little Miss Sunshine, so one can get a rough idea as to the offbeat, gently humourous and quirkily intelligent tone. Ruby Sparks was written by Ruby herself, Zoe Kazan, and boy did she do an amazing job as both scribe and leading lady. Directors Dayton and Faris have helped Kazan handcraft a true masterpiece, a film that completely took this reviewer by surprise in how profound and moving it ended up being. On the surface, this looks like a fun little flick with a fantastical premise, sort of Stranger than Fiction meets Pygmalion. There are indeed laughs aplenty to be derived from Calvin’s extremely peculiar predicament, and from how Ruby can be bent to his will at a mere keystroke.

            However, beneath that bubbly surface lies Kazan’s eloquent meditation on the process of writing, the process of falling in love, how the two intersect, and the moral and ethical implications of having complete control over one’s partner. The film expertly eases the audience from the lighter stuff into the psychological drama, and there is a truly intense confrontation at the film’s climax that one completely would not expect, yet it does not feel out of place in the slightest. As an aspiring writer and a hopeless romantic, the film struck this reviewer to the core, its observations ringing clear as a bell in spite (or perhaps because of) its outlandish jumping-off point. Even with the element of fantasy, this film never resorts to caricatures or broad strokes; even Calvin’s hippie mother and her new boyfriend (played by Annette Bening and Antonio Banderas respectively, enjoyable in their small roles) aren’t made out to be like Barbara Streisand and Dustin Hoffman’s similarly-characterised roles in Meet the Fockers. There’s a deftness, an elegance to the way the whole thing is handled, one example being a seemingly throwaway gag involving Ruby speaking French, which gets an impactful payoff at the end. All this may come off as pretentiously hipster to some, but is actually very refreshing amidst the sea of production-line, puerile comedies Hollywood seems to be churning out like butter these days, and not once does the film feel smug.

            Paul Dano, a Little Miss Sunshine alum, has yet to truly hit the big time – but judging from his performance as Calvin, he definitely deserves to. He is believable and likable to a fault as the awkward writer, and he never overplays Calvin’s ineptness as actors tasked with playing characters of this sort often do. When Calvin’s darker side creeps to the surface during the afore-mentioned climactic confrontation, Dano is absolutely riveting in that display of acting range. Kazan actually bests him a tad, probably because she wrote the part of Ruby for herself to play. They have incredible chemistry, likely a result of the actors’ real life romantic involvement with each other. Ruby is essentially a deconstruction of that ever-present “manic pixie dream girl” trope, embodied by such actresses as Zooey Deschanel and Krysten Ritter. Ruby can be all doe-eyed and kooky, but can switch personality traits at the drop of a hat, thanks to Calvin’s control over her. It’s engrossing to watch Kazan play the puppet of sorts, a woman unaware that she is actually nothing more than a figment of her boyfriend’s imagination come to life – and even more interesting to see Ruby assert her own identity when push comes to shove.

            Ruby Sparks is, to put it plainly, one of the very best romantic comedies this reviewer has ever seen. It almost defiantly breaks free of the mould of gratingly commercial ‘chick flicks’, instead serving up some rather deep ideas cloaked in a ‘what if?’ comedy, it’s artfully-lensed and brought to vivid life by its very capable leads. Just as Ruby leaps off the page and into Calvin’s life, so this film will very likely leap off the screen and into the hearts of many a viewer.

SUMMARY: An intriguing premise, skillfully-written screenplay, intelligent direction, compelling performances and unexpectedly thought-provoking philosophical undertones turn this Spark into a brightly-glowing flame.

RATING: 4.5/5 STARS

Jedd Jong