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download a Red Dragon movie

Friday, September 19th, 2008

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There are so many reasons people may not care to see Red Dragon, the latest film in the Hannibal Lecter trilogy adapted from Thomas Harris’ bestselling series, that it actually amazes me that someone would see the need to make it.  Granted, Silence of the Lambs was a blockbuster hit and a resounding critical success, and the sequel that followed it proved lucrative as well.  However, the feelings were very mixed for Hannibal, with its over-saturation of gore and graphic violence, that many people will probably feel that the last thing they might want to see is more unpleasantness.  Also, Red Dragon is a prequel to Silence of the Lambs, so it seems anti-climactic for the character of Hannibal Lecter (Hopkins, Bad Company) since we not only know he will be imprisoned, but also, we have seen so much of what he is capable of when he is out of his cage that when you keep him inside for most of the film, we aren’t going to find him nearly as scary. 

On top of this, Red Dragon is also a remake, as most hardcore fans of the novels and movies will have seen Manhunter, which was done over 16 years prior, before Silence of the Lambs, so we’ve already seen a vision of the novel played out in the not-too-distant past, still relatively fresh in the mind.  Lastly, all three previous adaptations had proven directors at the helm, from Michael Mann, to Jonathan Demme, and Ridley Scott, so when you see Brett "Rush Hour" Ratner’s name attached to a remake of a prequel of a series that no longer titillates like it used to, expectations are bound to be shaky at best.

This time out, it’s not Clarice Starling, but Will Graham (Norton, Frida) that is the main investigator.  Graham has a knack for being able to put himself in the mind of the killer to know how they think, and his notoriety in the industry only increases when he is the one to finally capture the mastermind Hannibal "the Cannibal" Lecter and put him away.  Graham was almost killed in the capture, and wants to get away from doing that kind of work, but a trusted friend and associate lures him back in the game when a new series of murders take place.  Two entire families have been horribly killed, and teeth marks left on a victim have dubbed the new killer the "Tooth Fairy".  Graham must try to put the pieces of the puzzle together before he strikes again, and his effort forces him back to confronting Hannibal Lecter again to give him ideas and insights into the mind of this new breed of psychopath.

Red Dragon, at best, is a completist film for those who want to round out the trilogy with Anthony Hopkins as Hannibal for all three adaptations.  I wish I could say that Red Dragon now makes Manhunter almost obsolete, but unfortunately, it’s quite the contrary.  Manhunter is a much more challenging film, deeper artistically, with far better characterizations, and is a breath of fresh air when contrasting it to the masterful, but darkly gothic Silence of the Lambs

However, as inferior as Red Dragon may be to the first incarnation, my goal is review each film on its own merits, instead of comparing it with other examples, which I think is only fair considering many viewers will not have seen the Michael Mann version.  As such, Red Dragon is modestly interesting, with a good story and colorful characters to liven things up.  It is the least gory of the three newest films, commendably so considering the direction the series seemed to be going, and should hopefully please those who feel that things had gone too far astray with Hannibal

Brett Ratner may lack the artistic flourishes of his predecessors, taking the film more in a straightforward thriller direction, but shows enough talent in this genre to expect that he may prove successful directing films other than buddy-flick comedies.  Ted Tally, screenwriter for The Silence of the Lambs, returns as well for more good writing and plotting in a comfortable vein.  The cast is a bit uneven, with Edward Norton seeming inconsequential to the two strong performances by the villains, and Ralph Fiennes (Spider, The End of the Affair) not well-cast as the anti-social, unattractive killer.  As good a performance as Fiennes delivers, he doesn’t seem very unattractive, or at least enough of a misfit, to buy in the role.

Red Dragon will probably be must-see for those who love the character of Hannibal Lecter, and especially for those who love Anthony Hopkins’ portrayal.  However, if you’re sick of it all by now, you aren’t missing anything special, as this is a mostly commercial venture that really contributes nothing new or exciting to the series.  If you do happen to see it and are entertained enough, I would highly recommend seeking out Manhunter at your local video store, as it is infinitely more substantial and better executed. 

While I was entertained enough with Red Dragon to give it a modest recommendation, now that the series is up to date, I also hope that is that it’s finally complete.  It was a good ride while it lasted, but like BB King once sang, "the thrill is gone."

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Thursday, September 18th, 2008

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Denzel Washington (The Manchurian Candidate, Man on Fire) plays New York police detective Keith Frazier, given a choice assignment that might see him get a promotion should he succeed.  The case?  A bank robbery and hostage situation featuring armed and masked assailants that dress up their hostages in the same garb they wear.  As Frazier tries to negotiate a peaceful resolution, it becomes apparent that the lead bank robber (Owen, Derailed) just might have the upper hand, as he seems to know all of the tricks of the trade.  But is it an open and shut bank robbery, or could this have something to do with what’s in safety deposit box 392, with possessions that the wealthy bank owner (Plummer, Syriana) wants very much to keep hidden away for good?

Although this is clearly a Spike Lee (25th Hour) joint, Inside Man represents Lee’s most mainstream work to date.  This doesn’t necessarily mean it is a bad film, as he has been very hit-and-miss as far as his more artistic pursuits, and his last effort, She Hate Me, had some proclaiming that his glory days as a great screenwriter might be behind him.  Lee didn’t write the screenplay for Inside Man, although anyone that knows Spike knows that he very much writes and alters a great deal of the dialogue during the filming stage, fleshing out the characters and motivations in a way that allows Spike to do his own thing. 

Perhaps in the hands of a lesser talent, Inside Man might have been a forgettable heist thriller, with a typical cat-and-mouse chess game between the lead cop and lead crook, going through predictable motions until the inevitable twist ending.  Lee masterfully turns his thriller into more of a character study, giving more emphasis to the cop than the crook, allowing us to get a rare glimpse of the pressures and motivations of the man in charge of trying to nab the crafty criminals for more than reasons of nobility.  Lee employs a nonlinear approach that proves to be much more than a gimmick here, as we more or less know the outcome.  All that’s left is to fill in the blanks as to who the bank robbers are, why they are doing what they do, and just what is in the contents of the mysterious safety deposit box that has a millionaire willing to pay almost any price to keep it hidden.

Lee’s knack for richness in characterizations as well as his adeptness in bringing out the feel and flavor of downtown New York City are the main assets in this thought-provoking drama.  Every character, from the main leads to the one or two line hostage character, is fully realized, allowing for a handful of poignant moments of social commentary underneath the main drama that makes this one of the smartest films of the year.  From racial profiling to video game violence, Lee adeptly never dumbs down his film into anything remotely approaching standard, clich

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Wednesday, September 17th, 2008

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Pulp Fiction Reviewed By Superfly Posted 09/04/98 00:43:37

"It’s fucking Pulp Fiction, for fuck’s sake." (Awesome)

Oh, I’m sorry, did I break your concentration?This movie has it all, biatch. This, when it came out, was pretty original for American movies, because Tarantino mainly ripped off tidbits from Japanese movies, I believe. But still, taking a few basic concepts from other foreign films isn’t exactly ripping everything off… he still had to write all the dialogue and what not.Tarantino only won Best Original Screenplay for this and the MTV Movie Awards Best Picture, if I remember correctly… and then the Palm d’Ore, but that’s French.It’s just amazing and should’ve beat the shit out of Forrest Gump for Best Picture and Best Supporting Actor and Best Director, not that Forrest Gump isn’t good, it’s just shit compared to Pulp Fiction, is all.I guess this technically isn’t even a review, really, but everyone’s seen this anyway, right? So, what’s the point?I’d just like to take this time to vent my frustrations about stupid people. Like, the people who think this movie makes no sense just because it’s not told with a linear time line. People think Vincent comes back from the dead… is it really that hard to figure out that part of the movie takes place before another part? It’s clearly obvious for anyone who isn’t an idiot.So, anyone who isn’t an idiot and hasn’t seen this yet, feel free to watch it.
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Tuesday, September 16th, 2008

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Big Lebowski, The Reviewed By Filmink Magazine (owes us money) Posted 08/26/98 12:20:03

"The Big Lebowski is big, crazy fun of the first order." (Awesome)

After charting slightly calmer waters with the celebrated Fargo, the Coen brothers ride the whirlwind again with The Big Lebowski.A throwback to the wilder, more anarchic days of Raising Arizona, their new feature is packed with enough wit, invention, and souped up irreverence to fill three movies.Imagine a standard, Raymond Chandler type noir thriller: blackmail, deceit, kidnap, avarice and sex. Replace the typical private eye hero with a laid back 1970’s reject who has a fetish for bowling called the Dude (Bridges); throw in some German nihilists, a crazy performance artist (Moore) and a Nam obsessed gun nut (Goodman), and you’ve got a very juicy package indeed. The Big Lebowski reverberates with energy and a funky independent spirit that sees the Coens once again marching to their own drummer. The Big Lebowski has something for everyone: wild laughs, baroque dream sequences, musical numbers, sleaze, violence, ten pin bowling, and a daring sense of the absurd.Indulgent? Maybe, but that’s the point. After cracking it with Fargo, the Coens can do anything, and with The Big Lebowski they do. This is a spray gun that somehow manages to hit all its targets. Holding all this anarchy together is one of the cinema’s finest, and most underrated, actors. Bearded and shaggy haired, Jeff Bridges is a flaky, spaced out delight. Smoking pot and vibing out to tapes of whale sounds, his dude is an unforgettably hilarious creation. This inspired performance is up there with his best work in Cutter’s Way, The Fabulous Baker Boys, and The Fisher King. With a role that fits him like a glove, Bridges delivers one of the greatest comic turns in recent times. Trying to steal his thunder are a curiously mannered Moore, a fiery Goodman, and, in two brief scenes, a side splitting John Turturro as the most bizarre bowler you’ve ever seen. Wild man Buscemi turns it down with a quietly moving performance as Goodman’s put upon sidekick.Cameos from a variety of faces (Sam Elliot, Ben Gazarra, Jon Polito, Flea, Peter Stormare) make this hectic canvas even more dazzling. Firing on all cylinders after taking the more quiet tack with Fargo, the Coen Brothers have cooked up a big slab of wonderful entertainment. The Big Lebowski is everything cinema should be: fresh, original, daring and expertly realised. The fact that this is all wrapped up in a comedy makes this an even more joyous experience.Iconoclastic and truly individual, the Coen Brothers have once again proved themselves one of the cinema’s greatest treasures. The Big Lebowski is big, crazy fun of the first order. —Peter Galvin
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Monday, September 15th, 2008

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Casanova Reviewed By brianorndorf Posted 12/23/05 14:54:15

"Where’s the sex?" (Pretty Bad)

After attaining acting nirvana in

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Saturday, September 13th, 2008

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John Carpenter’s Ghosts of Mars” is arguably the horror/sci-fi director’s most routine movie. Although Carpenter is sometimes schlocky, sometimes over the top, the maker of “Halloween” and “Escape From New York,” among many others, can usually be counted on to generate plenty of thrills and chills in high-energy fashion. But Carpenter’s heart doesn’t seem to be in this lackluster space adventure set in 2176. What’s more, his stars–Natasha Henstridge and Ice Cube–don’t exactly energize the proceedings. ADVERTISEMENT Henstridge is a sullen, hard-edged blond lieutenant on the Mars Police Force who’s marking time before being able to return to the Earth, even though the Red Planet has been colonized because of overpopulation back home. When she is introduced, she is facing the Inquisitor (Rosemary Forsyth), explaining how she happened to arrive back at the capital of Chryse, alone and unconscious on an otherwise empty train. Henstridge’s Melanie Ballard is part of a prisoner transfer squad led by Cmdr. Helena Braddock (Pam Grier) taking a train to the distant mining community of Shining Canyon, site of a prison from which they are to transport back to the capital the most dangerous criminal on Mars, surly James “Desolation” Williams (Ice Cube). When the squad arrives, it is confronted by an array of strung-up corpses. Apparently, only the prisoners are still alive, still in their cells. It seems that Professor Whitlock (Joanna Cassidy), an archeologist, having discovered what looks to be the entrance to a subterranean tomb, has led an expedition that literally raises the dead, unleashing hordes of Martian ghouls who take over the bodies of humans they regard as invaders. In the face of so overwhelming a threat, the line dividing police and criminals fades in the common struggle to survive. None of this is very compelling or persuasive, and Henstridge and Ice Cube are required primarily to be sullen and surly, respectively. Carpenter is skilled at allegory but doesn’t make much of the fact that Mars is under female rule or that Shining Valley’s prison population seems disproportionately African American and Latino, just as that population is on Earth in 2001. Making the most of what must have been a modest budget, production designer William Elliott has evoked a sense of dark desolation amid stark, monumental industrial-institutional structures, and cinematographer Gary B. Kibbe has been imaginative in his use of light and shadow to create a mood of foreboding (which also helps sets look more costly and convincing). Indeed, the film does have the sense of scale of some of Carpenter’s previous futuristic adventures, but it unfortunately has few other pluses. Grier is always welcome, and veteran Doug McGrath has a vivid sequence as a hapless prisoner being overtaken by a Martian spirit. * MPAA rating: R, for strong violence/gore, language and some drug content. Times guidelines: The violence and gore are too grisly for small children but not excessive for the genre. ‘John Carpenter’s Ghosts of Mars‘ Ice Cube James: “Desolation” Williams Natasha Henstridge: Lt. Melanie Ballard Jason Statham: Jericho Butler Clea Duvall: Bashira Kincaid Joanna Cassidy: Professor Whitlock A Screen Gems presentation of a Storm King production. Director John Carpenter. Producer Sandy King. Screenplay by Larry Sulkis and Carpenter. Cinematographer Gary B. Kibbe. Editor Paul Warschilka. Music Carpenter. Costumes Robin Michel Bush. Production designer William Elliott. Set designers John Leimanis. Bruce West, Mick Cukurs, Hugo Santiago. Set decorator Ronald Reiss. Running time: 1 hour, 35 minutes. In general release.
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Tuesday, September 9th, 2008

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Based on Johnny Cash’s books “Man in Black” and “Cash: The Autobiography,” and developed over a period of seven years with the help of Cash and June Carter Cash, James Mangold’s “Walk the Line” toes it pretty well. Named for one of Cash’s biggest hits, it also describes the linear progression of the story, which moves briskly from milestone to milestone, pausing along the way to photograph the monumental moments in the life of the artist, and more or less making a moral beeline for redemption. Johnny Cash’s work requires no explanation or justification, but pop icon biopics do. So we get the artistic creation myth as moral allegory: a wayward soul saved by the true love of a good woman. ADVERTISEMENT From hardscrabble beginnings and early trauma to sudden fame, infidelity, addiction and romantic salvation, the movie is less an uncharted journey than a 2 p.m. bus tour of a music industry legend. But like an expert guide, Mangold shepherds the story with enough grace, energy and skill to make it worthwhile. Like most examples of the genre, “Walk the Line” is an actors’ movie — the kind that requires chimeric transformations and the acquisition of new, impressive skills. Joaquin Phoenix and Reese Witherspoon do first-rate work — they sing, they twang, they play new-to-them instruments, they crackle with wit and charisma, and they give off so much sexual heat it’s a wonder they don’t burst into flames. Theirs are the kinds of performances the Academy Awards live to reward, comprising as they do a sort of acting decathlon. But the best thing about Phoenix and Witherspoon is their emotional connection, which carries the movie and transcends the material. Dark and brooding, with a scar like a badge and eyes that seem to gradate from light to onyx as the situation requires, Phoenix fills the screen with a profound, enveloping darkness that beckons like a black sea. Handling his guitar with a force that’s both sexual and violent, he suggests an inner tension the script demurs from drawing out too far, presumably for fear of making its hero unlikable. Instead it places much of the burden of negativity on Cash’s father, Ray (Robert Patrick), and his first wife, Vivian (Ginnifer Goodwin), who appear mainly to provide Cash with polar axes of disapproval. It seems pointless to plead a special case for Cash, though, who is already beloved by millions. But the movie dredges up the darker moments and so feels compelled to redress them. From the start, we learn that Cash’s love for June Carter, member of the legendary Carter family, predated his love for his first wife by at least a decade. Cash listened to June on the radio as a little boy, at least until his father invariably made him turn the damn thing off. If his father was hard on him then, he withdrew his affection for good after the death of his older son, Jack, an accident he blamed on Cash, then called J.R. A quick jaunt through the early years reveals some interesting tidbits: Cash nursed his fan’s crush on June while in the Air Force, reading music magazines. His interest in Folsom Prison, and his writing of “Folsom Prison Blues,” was sparked by a movie he saw while he was in the service. Cash picked up his first guitar while stationed in Germany, and before his tour of duty was up, he’d written one of his most iconic songs. (Movies about artists tend to liken the process of artistic creation to a sort of calm puttering around in the kitchen, and the lyrics flow from Cash in an uninterrupted line.) Marrying Vivian upon his return from the Air Force, he moved to Memphis and began an unsuccessful career as a door-to-door salesman, while singing gospel tunes in his free time with his makeshift band, the Tennessee Two. A chance encounter with Sam Phillips (the eerily excellent Dallas Roberts) led to a recording contract and wild tours through the South along with other Sun Records prodigies Elvis (Tyler Hilton), Jerry Lee Lewis (Waylon Malloy Payne), Roy Orbison (Johnathan Rice) and Carter. In one of the funniest scenes, Cash is inducted in the ways of junkiedom by a tour-mate, who hits him with the mother of all pressure tactics: “Elvis takes them.” From there, Phoenix spends much of the film bathed in sweat, jonesing, in more or less equal measure, for his pills and Carter, as his star rises and his marriage disintegrates. Carter, wisely, mostly resists, and Witherspoon, in one of her best performances, beautifully captures the tension within her. Warm, vivacious and unfailingly funny on stage, she struggles to create a stable professional and emotional life in an environment that’s anything but. In a road scene with the Sun Records gang, Jerry Lee Lewis rants about how they are all going to hell for the music they sing — except for June, who’s beautiful. Unlike Cash and the rest, Carter grew up famous and puts a higher premium than they do on whatever semblance of normality she can eke out from her life. The most vivid difference between Cash and Carter is her clear ability to separate her private self from her public self. In one scene, she handles an acid saleslady who objects to her divorce in a purely professional way. “I’m sorry I let you down,” she says politely, containing her anger at the woman’s intrusion into her personal life. It’s a great early moment in the life of a celebrity as sacrificial lamb. “Walk the Line,” after all, is also a portrait of the ’50s and ’60s, and there’s something heartening about the merry band of quasi-Messianic figures loaded into a little car, spreading the word and dying (or nearly) for their sins so we won’t have to. Walk the Line MPAA rating: PG-13 for some language, thematic material and depiction of drug dependency Times guidelines: Contains scenes of drug use and dependency, some sexual content, violence against cabinetry and plumbing. Fox 2000 Pictures presents A Tree/Line Film Production and a Catfish Production. Directed by James Mangold. Written by Gill Dennis and James Mangold. Based on “Man in Black” and “Cash: The Autobiography” by Johnny Cash. Produced by Cathy Konrad, James Keach. Executive producers John Carter Cash, Alan C. Blomquist. Director of photography Phedon Papamichael. Production designer David J. Bomba. Editor Michael McCusker. Music by T Bone Burnett. Running time: 2 hours, 16 minutes. In general release
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Monday, September 8th, 2008

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I remember a quote from a source I’ve long forgotten when describing the recent trend of Hong Kong film directors making movies in other countries stating, "You can take the director out of Hong Kong, but you can’t take Hong Kong out of the director."  After seeing such poor films by Hong Kong directors done outside of their usual realm by John Woo (Windtalkers), Ronny Yu (Formula 51), and now Corey Yuen (The Transporter), I would amend that line with, "You might not be able to take Hong Kong out of the director, but you can take director out of the director." 

Although I’ve been a bit disillusioned lately with the current crop of defecting directors, I was still eagerly anticipating The Trasporter due to the past track record of Corey Yuen.  Fong Sai Yuk (reworked as the Legend for the US release) ranks among my favorite kung-fu films of all time, and the sequel doesn’t fall too close behind.  Although he hasn’t done anything as worthwhile since, The Transporter is still a major disappointment for Yuen because of the association with Luc Besson, who provides the screenplay.  Yuen has made entertaining films without good scripts, and considering Besson has written such modern classics in the action genre as La Femme Nikita, Leon (The Professional), and The Fifth Element one would have thought this film couldn’t miss.  Now that Besson has followed up his worst effort in Kiss of the Dragon with another dud, one could almost claim that he might have fallen off as well.

Brit actor Jason Statham, who most viewers will probably recognize from Guy Ritchie’s Lock Stock and Two Smoking Barrels and Snatch, plays Frank Martin, a former military special ops agent who currently is a driver for hire for anyone willing to pay his expensive salary for moving things from one place to another in one piece and  without getting caught.  Frank lives by three fundamental rules: 1) Don’t change the deal, 2) No names, and 3) Never look in the package.  However, Frank compromises himself when he looks in a particular moving package revealing a young Asian woman named Lai, who proves more valuable than anything he’s transported before if the men who are trying to kill him are any indication. 

The Transporter falls into the same sub-genre category as the recent Vin Diesel flick, XXX, a supercharged no-brain actioner that is content to reduce the screenplay to a bare minimum and amp up the noise and explosions in place of the missing dialogue.  On the positive side, Statham does a commendable job carrying the action, and Shu Qi (So Close, Martial Angels) has some appeal as the young woman who causes his life to turn upside down.  However, the rest of the cast falls far short in credibility, with the main antagonists in particular lacking the formidability or charisma to be truly menacing…or at least interesting.

The same might be said of the film as a whole, as The Transporter lacks distinction among the current crop of bad action films, with its emphasis on style over substance, and music video style editing.  Besson’s script is merely a retread amalgamation of his previous works, lacking in both freshness and inventiveness, and the film suffers from poor characterization and development.  Perhaps the threadbare nature caused Yuen to churn out extended action sequences that get noisier and more unbelievable with each successive occurrence, but without a solid foundation of fondness for the characters, the result evokes a Shakespearean quote:  Full of sound and fury, signifying nothing.

the Transporter is recommended only for people who loved XXX and demand more of the same to tide them over until the next Vin Diesel explode-a-thon.  Among other films in the bad action genre, it certainly isn’t the worst.  It’s just more of the same.

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Friday, September 5th, 2008

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Aladdin Reviewed By Ryan Arthur Posted 08/29/98 00:46:01

"Never fails. You get in the bath and there’s a rub at the lamp." (Worth A Look)

Phenomenal cosmic power…itty bitty living space.Of the modern Disney projects (from say, the mid-80’s on) this is probably my all time favorite. It’s actually the only animated Disney movie I have on tape, and one of the few that I still watch on a regular basis. You know the story of Aladdin and the lamp, and you know how Robin Williams steals the show as the Genie. So I won’t bore you with details. Point is, it’s not just a kids movie. It really isn’t. Williams makes literally dozens of references that adults (and some kids) will get, including impressions of popular culture figures. Loaded with jokes in addition to the love story between Aladdin and Jasmine, it’s really got something for every member of the family. And unlike most of the Disney films, the musical numbers are memorable and seem to fit the feel of the movie.A pretty good film, animated or otherwise.Don’t just rent it, buy it.
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Life of David Gale, The internet movie

Thursday, September 4th, 2008

Download Life of David Gale, The

DOWNLOAD MOVIE Life of David Gale, The

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Life of David Gale, The Reviewed By Collin Souter Posted 02/23/03 04:10:47

"It does for Peace on Earth what ‘Battlefield Earth’ did for Scientology" (Total Crap)