(from the dialogue of Pig, spoken by Rob Feld [Nicholas Cage])
Reviews and Comments by Ken Burke
I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) when they’re supportive or the OCCU (Often Cranky Critics Universe) when they go negative.
Opening Chatter (no spoilers): Were I not still avoiding being cooped up in an indoor theater concerned about the constant rise of COVID-Delta in my San Francisco area I’d likely have looked into Together (Stephen Daldry), about a British couple (James McAvoy, Sharon Horgan) caught up in the claustrophobic-reality of early COVID-19 lockdown (nope, no Candyman [Nia DaCosta] for me [although, here’s an anatomy of a scene if you’re interested in it]), but as my cinematic world’s still defined by streaming I’ve got one I highly recommend, another not so great but an interesting diversion. The “you really should see this”-option is Pig (photo above) with Nicholas Cage offering a stellar performance (within a fascinating film) as a former (famous) chef now holed up in the woods with his pet pig, an animal adept at finding truffles thereby providing a solid income when the man sells these delicacies to his local dealer, a situation that goes immediately bad when thugs break into his cabin, beat him up, steal the pig; the rest of this story is his quest to find his pig again, leading him into confrontations with some of Portland, OR’s least-desirable-characters (it’s been out for awhile, still in a few theaters but mostly available on several platforms—including Amazon Prime Video, Apple TV+—for a $6.99 rental). However, I’m reviewing it under my Short Takes section, along with another option, because my recent days have seen some active devotion to a new cat in our home as a companion for 12-year-old-Bella, but I won’t say more about that now until we’re sure he’s going to accept being here (if so, additional details will surely follow next week).
Also, in Short Takes you’ll find comments on Reminiscence, a dystopian-futuristic-sci-fi movie with film noir-ish overtones, this one set in a heat-baked, sorta-flooded Miami where Hugh Jackman runs a business using technology to help clients relive their memories when he falls for a woman who disappears, putting him on the hunt; it's in a huge number of theaters but also available for free if you’re an HBO Max subscriber. To complete that section I’ll offer suggestions for some choices on the Turner Classic Movies channel (but too much extra text for line-justified-layout like you see here [Related Links stuff at each posting’s end is similarly-ragged], at least to be done by this burned-out-BlogSpot-drone—oh, tedious software!), plus my standard dose of industry-related-trivia.
SHORT TAKES
If you can abide plot spoilers read on, but this blog’s intended for those who’ve seen the film or want to save some $. To help any of you who want to learn more details yet avoid those important plot-reveals I’ll identify any give-away sentences/sentence-clusters like this:
⇒The first and last words will be noted with arrows and red.⇐ OK, now continue on if you prefer.
Here’s the trailer:
(Use the full screen button in the image’s lower right to enlarge it; activate
that same button or use the “esc” keyboard key to return to normal size.)
Rob Feld (Nicholas Cage) was once a famous, influential chef in Portland, OR, but when his wife, Lori, died 10 years ago he became a recluse living in a sparse cabin in the woods, maintaining a living with the help of his pet pig who finds sought-after-truffles which Rob sells to Amir (Alex Wolff) who then provides these delicacies to high-end-restaurants in the city, especially one named Eurydice, run by chef Derek Finway (David Knell). This peaceful scenario’s interrupted one night, though (with coyotes howling in the background), when a couple of thugs break into the cabin, beat up Rob, steal the pig. Next day Rob wanders into a local diner (on foot, after his truck refused to run), borrows their phone, calls Amir to help him retrieve the pig—a key component of both their incomes—even though Amir’s hesitant to get involved in these clandestine activities. Through a tip from another truffle hunter, Rob confronts a pair of poor drug addicts, Bree and Scratch (Elijah Ungvary, Julia Bray), who admit they stole the pig but have only a vague idea of the “city man” they sold it to. Pushed further by Rob, Amir drives him into the city where he tries to get information from local underground (literally, we’ll find out) honcho, Edgar (Darius Pierce), who no longer respects Rob enough to work with him until Rob goes to Edgar’s below-ground-fight-club, apparently re-wins Edgar’s respect by bloodily-waiting out the bell while a guy pummels him, offering no defense at all.
Beaten but still mobile, Rob gets a tip from Edgar to confront Derek at his upscale restaurant, which he does, again demanding to know who has his pig; Derek recognizes Rob, once worked for him (until fired), still has admiration (as does Amir, whose life is miserable where his parents are concerned, Son in a power struggle with Dad, Mom in a coma after trying to commit suicide, but Amir still remembers how happy they once were after a fine meal prepared by Rob). After being verbally humiliated (see the 5:52 scene here, but this video’s very dark, much more so than the actual film; you can see it a little better in full-screen-mode [last icon on the lower right of the YouTube Screen, then use “esc” button to return to normal viewing afterward]), Derrick admits the pig was bought by Amir’s father, Darius (Adam Arkin), so Rob goes to the rich, powerful man’s home demanding the pig but is thrown out with a promise of $25,000 to drop the quest (3:10 confrontation scene). ⇒Rob retaliates by gathering up the needed ingredients (even a specific bottle of wine from a collection housed where Rob’s wife is interred) to make Darius an exquisite meal which he eats some of, then suddenly realizes it’s the same one he so enjoyed with his wife so long ago (5:49 dinner scene).⇐
⇒Darius is simultaneously sad/furious, eventually breaks down to admit the druggies so injured the pig that she died, leaving Rob at an impasse in his retrieval-task although he admitted to Amir he can tell from the trees where the truffles are, he just loved the pig enough to want her safe return. Rob and Amir agree to meet next Thursday as usual, Rob rejects a ride back to the woods, walking instead for the distance, goes into his cabin where he plays an audio cassette tape from his wife on his birthday long ago where she sings Bruce Springsteen’s “I’m on Fire.”⇐ This is another fine find I’d never have even known about had it not been for that same local radio critic in my area who steered me to Lorelei (Sabrina Doyle; 4 stars-review in our August 12, 2021 posting), so I thank him again for his insights (OK, I’ll finally identify him: Tim Sika of the Celluloid Dreams website; I hesitated last week to name him because he also praised John and the Hole [Pascual Sisto; 3 stars-review in our August 26, 2021 posting] in Edward Albee-terms where I just don’t see the connection, but now he’s got 2 of 3 very recently so he can come out of my imposed-shadows for the rest of the larger world to know about). Tim also says this is Cage’s finest performance (many echo that sentiment or at least say it's his best in many years), although I’ll stay with his Best Actor Oscar–role in Leaving Las Vegas (Mike Figgis, 1995), along with his fabulous-dual-appearance as a fictionalized version of screenwriter/director Charlie Kaufman plus Charlie's fully-fictional-brother, Donald, in Adaptation (Spike Jonze, 2002), but any such comparisons are open to endless (fruitless?) debates.
The CCAL’s not debating Pig, though, as the Rotten Tomatoes folks present 97% positive reviews while those at Metacritic are equally-supportive: 82% average score. While it’s been out for 6 weeks in theaters (opened in 588 domestic [U.S.-Canada] ones, now down to just 61 [made $3.1 million in ticket sales, $3.2 globally so far]), your easy way to see it is on several streaming platforms—including Amazon Prime Video and Apple TV+—for a $6.99 rental. As always, I’ll leave you with a Musical Metaphor which is an easy choice this time of “I’m on Fire” (from Springsteen’s 1984 Born in the U.S.A. album) because Rob’s been in a state of smoldering rejection of life ever since Lori’s death (as he details in that restaurant scene dialogue attacking Derek) with “a freight train runnin’ through the middle of [his] head,” made all the more ironic by Lori singing it here so long after the fact to Rob. First I'll run her version, sung by Cassandra Violet, which ends the film, goes into the credits, but you deserve Bruce's version also. Pig is a clear, direct story with its central mystery resolved in linear fashion, although what might happen next is open to speculation as explored in the second item connected to this film in the Related Links section of this posting found quite far below.
Reminiscence (Lisa Joy) rated PG-13 116 min.
In a near-future as climate change brings the ocean into the streets of Miami, Hugh Jackman and Thandiwe Newton run a memory-revival business taking clients happily into their pasts, but then a woman shows up who stirs Jackman’s interest until she disappears, with his life thereafter devoted to somehow finding her once again.
Here’s the trailer:
In a sense this is a standard dystopian tale about a relatively-near-future where humanity’s situation has once again changed for the worst, although this time there’s a clear connection between what’s going on now and what’s to then become of us because of it. In this scenario climate change (it's real!) has led to extreme temperatures and rising ocean levels so Miami streets are mildly-flooded while the daytime heat's so extreme most people stay indoors (probably asleep) while the sun’s out, live their lives at night. A further complication is there was some sort of “border war” (immigration politics finally exploded after we could no longer do military exercises in Afghanistan maybe?) leaving many ex-soldiers with additional reasons to shun present-day-reality. These factors play out well for Nick Bannister (Hugh Jackman) and his associate, Emily “Watts” Sanders (Thandiwe Newton), who offer a memory-retrieval-technology where you lie in a shallow cryogenic chamber (like a small coffin filled with liquid) as Bannister talks you through reviving specific past events which become illustrated in a nearby-holographic-stage as well as recorded for future retrieval (the police often call upon their services, forcing suspects into the tank where their own illustrated-pasts can lead to conviction [I guess protection from unintended self-incrimination’s now gone by the wayside]).
One day, right at closing time, a woman, Mae (Rebecca Ferguson), comes in, desperate to use this process to locate her lost keys, an easy task but it leads Bannister, immediately enthralled, to visit the nightclub where she’s a waitress/singer, offering us the perfect tune for this story, (I Don’t Remember) "Where or When". Soon they’re into a torrid affair, then suddenly she disappears. Months later we find Nick in his own tank, bringing back memories of Mae, a dangerous tactic because if you revisit a memory too often you can get trapped there; Nick finds Mae in another memory, though, when Prosecutor Avery Castillo (Natalie Martinez) has him probe a comatose guy who worked for New Orleans drug boss Saint Joe (Daniel Wu), but in the guy’s remembrance we find Mae as Joe’s mistress, hooked on a powerful narcotic, “Baca.” Soon, Nick’s off to New Orleans to confront St. Joe, who says he knows nothing of Mae now, has his goons try to drown Nick. “Watts” saves the day, however, killing Joe and his men (as she quietly seems to have more than just a professional interest in Nick, seething at his fascination with Mae). Back in Miami Nick and “Watts” realize Mae stole some of their memory recordings, including those of Elsa Carine (Angela Sarafyan) who had a wealthy “land baron” lover, Walter Sylvan (Brett Cullen), though now deceased.
As Nick probes further, he finds Elsa’s been murdered, her son (likely Sylvan’s child) kidnapped by Mae. Nick then has to fight off Cyrus Boothe (Cliff Curtis), a St. Joe thug, followed by a tip where Mae and Boothe may be. ⇒Nick captures Boothe, puts him in the memory-machine, finds out Mae intentionally seduced Nick before genuinely falling for him, then she hid Elsa’s kid after Boothe killed Elsa. In the memory, Mae gives Nick a clandestine clue about where the kid is, then jumps to her death. Further Boothe memories show how he was severely burned by St. Joe for stealing, hired by Sylvan’s legitimate son, Sebastian (Mojean Aria), to kill Elsa and the kid so as to protect his full inheritance, leading to his arrest. Nick then immerses himself in his memories with Mae for the rest of his life, including telling her the myth of Orpheus and Eurydice but stopping before the sad end where the poet fails in his opportunity to release his lover from her eternity in the afterlife.⇐ A good bit of commentary’s been made noting some comparisons of Reminiscence to Blade Runner (Ridley Scott), especially the original 1982 release with 1940s style voice-over-narration—“It’s us who haunt the past”—(some of the lighting’s similar to Scott’s film also), but the comparison largely ends there.
There’s fascinating premise to this current tale, yet the plot gets almost as convoluted at a true film noir classic, The Big Sleep (Howard Hawks, 1946), my interest waning as each new Reminiscence twist came into place. The overall atmosphere is well-conceived, Jackman and Newton are always a pleasure to watch, but as a full experience it’s not consistently interesting, a sentiment emphasized by the OCCU (RT a dismal 38% positive reviews, MC a surprisingly-higher 46% average score), although I liked it better than they did. I was aware of this rejection going in, not expecting much but curious to see how it plays out. If you’re an HBO Max subscriber you can put your own curiously to work for no extra fee—or, if you’ll willing to spend a bit you can easily find Reminiscence in 3,265 domestic theaters ($3.5 million there, $10.9 worldwide so far, not a brag-worthy-debut even in pandemic times); however, you might want to just listen to my Musical Metaphor, Roy Orbison’s “In Dreams” (from his 1963 album of that name) at https://www.youtube.com/watch?v=Q5ntFAqh K5M ([lyrics below the YouTube screen] from Blue Velvet [David Lynch, 1986] where it’s lip-synched by Dean Stockwell; this is the film you should watch, if you want a truly disturbing experience, as evidenced by Dennis Hopper obscenely cutting off the song) or here’s Roy on his own where the singer (and Nick) “fall asleep to dream My dreams of you,” so that Mae will never go away, even if this movie with its at-times-overwrought-melodrama could morph into a wee forgotten memory itself.
Suggestions for TCM cablecasts
At least until the pandemic subsides Two Guys also want to encourage you to consider movies you might be interested in that don’t require subscriptions to Netflix, Amazon Prime, similar Internet platforms (we may well be stuck inside for longer than those 30-day-free-initial-offers), or premium-tier-cable-TV-fees. While there are a good number of video networks offering movies of various sorts (mostly broken up by commercials), one dependable source of fine cinematic programming is Turner Classic Movies (available in lots of basic-cable-packages) so I’ll be offering suggestions of possible choices for you running from Thursday afternoon of the current week (I usually get this blog posted by early Thursday mornings) on through Thursday morning of the following week. All times are for U.S. Pacific zone so if you see something of interest please verify actual show time in your area for the day listed. These recommendations are my particular favorites (no matter when they’re on, although some of those early-day-ones might need to be recorded, watched later), but there’s considerably more to pick from you might like even better; feel free to explore their entire schedule here. You can also click the down arrow at the right of each listing for additional, useful info.
I’ll bet if you checked that entire schedule link just above you’d find other options of interest, but these are the only ones grabbing my attention at present. Please dig in further for other possibilities.
(Nevertheless, I still found a bounty of treasures this week.)
Thursday September 2, 2021
9:00 PM Sunset Boulevard (Billy Wilder, 1950) This film is among the many truly-defining-classic cinema works, with a story about a screenwriter on the run (William Holden) who accidently takes
up with a long-forgotten silent movie actress (Gloria Swanson) out of necessity, writing her absurd “return” to stardom. Famed silent director Eric von Stroheim’s there as her ex-husband and director, now her butler as history informs fiction a little bit here. It won Oscars for Best Story and Screenplay, Black and White Art Direction/Set Decoration, Scoring of a Dramatic or Comedy Picture; it was also nominated for 8 more Oscars including Best Picture, Director, Actor (Holden), Actress (Swanson), Supporting Actor (von Stroheim), Film Editing, and Cinematography for Black and White pictures.
11:00 PM Singin’ in the Rain (Gene Kelly and Stanley Donen, 1952) Beloved-musical (a standard for achievement in its genre) starring Kelly, Debbie Reynolds, Donald O’Connor, Jean Hagen, and Cyd Charisse about Hollywood’s clumsy transition into sound movies, plus romance between a male star and a female newcomer with great potential; features the fabulous “Broadway Melody” sequence, one of the grandest of all MGM spectaculars, along with many songs borrowed from previous MGM musicals. (In case you miss it for this time, it’s also on again on Sunday Sept. 5, 2021 at 3:00 PM.)
Saturday September 4, 2021
11:15 AM 12 Angry Men (Sidney Lumet, 1957) Jury deliberation drama where a young man (seemingly Hispanic) accused of killing his father seems a slam-dunk for guilty by this group of
White men until Juror 8 (Henry Fonda) wants to discuss it further, angering some of the others but
he insists on more dialogue. Based on a TV play, this is a single-set, real-time-flow story becoming increasingly claustrophobic. Marvelous acting by all actors as tensions mount, evidence is more tightly examined: Fonda, Martin Balsam, John Fiedler, Lee J. Cobb, E.G. Marshall, Jack Klugman, Edward Binns, Jack Warden, Joseph Sweeney, Ed Begley, George Voskovec, Robert Webber. Nominated for the Oscars as Best Picture, Best Director, Best Adapted Screenplay but won none.
1:00 PM Lawrence of Arabia (David Lean, 1962) Oscar winner as Best Picture, Best Director (and 5 more) in this history-based-version of Brit T.E. Lawrence working with desert-dwelling Arabs against Ottoman Empire Turks in WW I, starring Peter O’Toole, Omar Sharif, Anthony Quinn, Alec Guinness, Claude Rains, José Ferrer, many others; monumental visuals calling for a decent-size widescreen format to see it on (no cell phones!) as well as time to spare because it runs for about 3½ hours.
Monday September 6, 2021
5:00 PM Cinema Paradiso (Giuseppe Tornatore, 1989) Told in flashback, an Italian director recalls his post-WW II childhood developing a friendship with the local moviehouse projectionist who goes blind during an explosive accident with flammable filmstock so the kid becomes the new projectionist who also endures the audiences’ disappointments about kissing scenes edited out of everything they show due to censorship from the priest. Glorious; won the Oscar for Best Foreign Language Film.
7:15 PM The Good, the Bad and the Ugly (Sergio Leone, 1968) Not a classic in the traditional cinematic sense but maybe the best “spaghetti western” from the master of this type of story where Clint Eastwood again plays the Man with No Name, this time working bounty-hunter-hustles with Eli Wallach while vicious Lee Van Cleef is in the same territory, all of them looking for a hidden stash of Confederate gold in the Old West as various double-crossings increase the tension of what the outcome might be; marvelous cinematography and an unforgettable score by Ennio Morricone.
Tuesday September 7, 2021
3:15 AM A Streetcar Named Desire (Elia Kazan, 1951) From Tennessee Williams’ equally-searing play (it’s more cruel, as Hays Code-dominated films had to conform to “decency” standards), this masterpiece of interpersonal-brutality stars Marlon Brando at maybe his best but acting Oscars went to Vivien Leigh (Actress), Karl Malden (Supporting Actor), Kim Hunter (Supporting Actress), plus one for B&W Art Direction and 7 other noms including Best Picture, Director, and Adapted Screenplay (Williams). “Stella!”—what more can I say? Even with the censorship, an all-time cinematic triumph.
5:30 AM East of Eden (Elia Kazan, 1955) James Dean’s screen debut as Cal Trask, a WW I-era young man living near Monterey, CA trying to win the love of his stern father, Adam (Raymond Massey), who gives more support to other son Aron (Richard Davalos), adapted from the stunning John Steinbeck novel (with its intended Biblical overtones). Even when Cal makes a fortune for
Dad he’s rejected so he shames Aron by revealing Mom (Jo Van Fleet) isn’t dead after all but lives nearby, running a brothel. Won the Oscar for Best Supporting Actress (Van Fleet); Dean (already dead by the time of the awards) was nominated for Best Actor (as he was for his last, Giant [1956]).
Wednesday September 8, 2021
5:00 PM The Graduate (Mike Nichols, 1967) Life-defining film for me as I as an undergrad wanted to emulate the lead actor’s life (except for the affair) where a recent college graduate (Dustin Hoffman) begins a loveless affair with the wife (Anne Bancroft) of his father’s business partner while actually wanting to connect with the woman’s daughter (Katharine Ross); fabulous acting, script, Simon & Garfunkel soundtrack. Won the Oscar for Best Director, also nominated for Best Picture, Actor (Hoffman), Actress (Bancroft), Supporting Actress (Ross), Adapted Screenplay, Cinematography.
8:00 PM Who’s Afraid of Virginia Woolf? (Mike Nichols, 1966) Adapted from Edward Albee’s controversial play (1962), keeps story and most of the (profane) dialogue intact as a professor (Richard Burton) and his wife (Elizabeth Taylor), daughter of this small college’s president, verbally battle in front of house guests (George Segal, Sandy Dennis) as dysfunctionality reigns. Multiple-Oscar-winner: Best Actress (Taylor), Supporting Actress (Dennis), Art Direction, Costume Design, Cinematography (all 3 for B&W films), plus another 8 nominations; bitter to watch, grim masterpiece.
If you’d like your own PDF of ratings/summaries of this week's reviews, suggestions for TCM cablecasts, links to Two Guys info click this link to access then save, print, or whatever you need.
Other Cinema-Related Stuff: Extra items you might like: (1) Harry Potter producer says we need big-screen movies; (2) Was Candyman so successful due to no parallel streaming option? As usual for now I’ll close out this section with Joni Mitchell’s "Big Yellow Taxi" (from her 1970 Ladies of the Canyon album)—because “You don’t know what you’ve got ‘till it’s gone”—and a reminder that you can search streaming/rental/purchase movie options at JustWatch.
Related Links Which You Might Find Interesting:
We encourage you to visit the Summary of Two Guys Reviews for our past posts.* Overall notations for this blog—including Internet formatting craziness beyond our control—may be found at our Two Guys in the Dark homepage. If you’d like to Like us on Facebook please visit our Facebook page. We appreciate your support whenever and however you can offer it!
*Please ignore previous warnings about a “dead link” to our Summary page because the problem’s been manually fixed so that all postings since July 11, 2013 now have the proper functioning link.
Here’s more information about Pig:
https://www.pig-themovie.com (click on the 3 little bars in the upper left corner for various options)
https://www.youtube.com/watch?v=zjwalFMaTM8 (9:26 ending explained—Spoilers obviously! Includes quotes from the director’s press release statement.)
https://www.rottentomatoes.com/m/pig_2021
https://www.metacritic.com/movie/pig-2021
Here’s more information about Reminiscence:
https://www.reminiscencefilm.com/ (click on the 3 little bars in the upper left corner for various options)
https://www.youtube.com/watch?v=VEjdfNMaawA (11:15 ending explained—Spoilers obviously)
https://www.rottentomatoes.com/m/reminiscence_2021
https://www.metacritic.com/movie/reminiscence
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If you’d rather contact Ken directly rather than leaving a comment here please use my email address of kenburke409@gmail.com—type it directly if the link doesn’t work. (But if you truly have too much time on your hands you might want to explore some even-longer-and-more-obtuse-than-my-film-reviews-academic-articles about various cinematic topics at my website, https://kenburke.academia.edu, which could really give you something to talk to me about.)
If we did talk, though, you’d easily see how my early-70s-age informs my references, Musical Metaphors, etc. in these reviews because I’m clearly a guy of the later 20th century, not so much the contemporary world. I’ve come to accept my ongoing situation, though, realizing we all (if fate allows) keep getting older, we just have to embrace it, as Joni Mitchell did so well in "The Circle Game," offering sage advice even when she was quite young herself.
By the way, if you’re ever at The Hotel California knock on my door—but you know what the check-out policy is so be prepared to stay for awhile (quite an eternal while, in fact). Ken
P.S. Just to show that I haven’t fully flushed Texas out of my system here’s an alternative destination for you, Home in a Texas Bar, with Gary P. Nunn and Jerry Jeff Walker. But wherever the rest of my body may be my heart’s always with my longtime-companion, lover, and wife, Nina Kindblad, so here’s our favorite shared song—Neil Young’s "Harvest Moon"
—from the performance we saw at the Desert Trip concerts in Indio, CA on October 15, 2016 (as a full moon was rising over the stadium) because “I’m still in love with you,” my dearest,
a never-changing-reality even as the moon waxes and wanes over the months/years to come. But, just as we can raunchy at times (in private of course) Neil and his backing band, Promise of the Real, on that same night also did a lengthy, fantastic version of "Cowgirl in the Sand"
(19:06) which I’d also like to commit to this blog’s always-ending-tunes; I never get tired of listening to it, then and now (one of my idle dreams is to play guitar even half this good).
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