Film - Best Worst Moments (Accents Edition No.3) - The Room - Johnny Doth Protest Too Much

Best Worst Scenes (Accents) No.3 - Johnny is being torn apart by accusations in The Room

Guilty Parties - Tommy Wiseau (But also that skank Lisa).

Part 3 of our list at Ranticular of the best worst accents is the most recent and arguably the most famous. The Room has become a cult phenomenon since it's release in 2003. Widely regarded (not entirely without merit) as being one of the worst films of all time, it suffers from an awful script, numerous pointless scenes and some spectacularly bad acting. Every character on that poster has a line or moment that would be priceless in any other film. Their powers combined, the resulting film is insanely enjoyable.

A major part of what makes the film work is Tommy Wiseau, script-writer, director, lead actor (playing main character Mark) and winner of the John Romero outstanding male hair award. It is worth noting that Tommy is not trying to play his character with an accent but simply uses his regular speaking voice. It is hilarious. As you will see Johnny can't speak English without sounding like Pepe Le Pew after an all night whiskey bender. I couldn't ignore his performance because his bizarre speech pattern and slurred words add so much comedy to an already inane and amusing production.

Poor Tommy also can't act so when you let him try to convey emotions... I'll let this scene segment speak for itself. His character Johnny discovers his girlfriend Lisa has been lying about him and comes out on the rooftop to vent, meeting his friend Mark up there. Firstly here is the scene transcribed as it sounds in The Room. Johnny's lines are underlined to highlight them. I respect that some of you will call this cheating as this is an actors accent as opposed to a characters. Pity I don't care.

Johnny : Aye did naht Hitler, iz nah't thru. Izz Bowlsheet. I de-add Naht Heat Hur. I dee-addd Naaaaht. Oh Hai Muark.

Mark : Oh hey Johnny. What's up?

Johnny : Ey-e av ah problemm wit Le-iza, she say'd det I heat hur.

Mark : What?! Well, did you?

Johnny : Nooo iz nah thru donin evan h-ask! Whaz nehw wid hugh?

Mark : Well I'm just sitting up here thinking you know?

Mark seems remarkably calm considering his friend is obviously on some powerful horse tranquilizers and can barely speak. Check out the scene here and before you laugh at poor Johnny's pain... call a friend over. That way you can both laugh. If there are any problems with the viewer below, there is an external link here.

See you tomorrow at 4pm for more high-larious accents, til then!

Film - Best Worst Moments (Accents Edition No.2) - Bram Stokers Dracula - Jonathan's Train Monologue

Best Worst Scenes (Accents) No.2 - Jonathan doesn't know English/Geography in B.S Dracula (hee hee...)

Guilty Parties - Keanu Reeves

When Francis Ford Coppola sets out to make an epic, gothic, love (-ic?) tale based on Bram Stokers Dracula, you'd expect that casting would be priority number one, even over his documented rampant cocaine consumption. Sadly, that ain't the case here. While there is a lot to love in this film (Gary Oldman is great, the central love-story is actually rather moving) the film falls apart when some of the ensemble are expected to act or even open their mouths.

Winona Ryder (as Mina Murray) may sound pretty silly, think English by way of a cyborg-Canadian. But Keanu Reeves (as Jonathan Harker) seems to struggle to speak in his native stoner accent. Asking him to speak as a well-educated turn of the century Englishman... Well thats just insane. Remember, this guy is the One (sneaky Matrix joke!) expected to stand up to and ultimately defeat Dracula.

We Need Nuns. Lots of Nuns.

Earlier in the film, when Johathan is the only character we have been introduced to, it is impossible not to notice that you are listening not to the character Jonathan Harker but to Keanu Reeves, an actor who until now had catchphrases consisting of the words "Dude" and "Bogus". Keanu's deliver is stunningly broken. Aside from almost certainly never having heard an actual English person speak out loud before, his approximation of an English accent gets overheated easily and needs cool-down periods mid-sentance. Mind you, even speaking with a measured flow wouldn't make this insipid accent sound any more natural then a Jamaican Darth Vader.

Jonathan Harker (Voice-Over) : Twenty fwifty Mhay, Byyyyyudapest. Left... Byyyyyudapest uhhh-ly this mwaoning. Thee... impwession I haid... whash the-at we whar leafing the wah-est... und intering thu EEEhh-ast.

Tee dick-strict I (h)am to eeenta... is in thu huuuuxtreme Ehh-ust of thu country... just on the buuuuorders of thhhhree sta-hates, Tran-sal-vaniha, Mol-oh-via hand Buke--oav-ina, in thu mhidstd of thu Car-p--hate-ian Mooo-unthains... wan of thu whildist und lu-heast knownh phort-owns uf Eur-up.

Firstly, where the fuck is Byyyyyyudapest? That is not a place. There is no place on Earth called Byyyyyyyudpest. Secondly, what is with the seemingly random stressing of vowel sounds everywhere? Thirdly, Keanu's "uh uh spageteeos" face at 1.45minutes. Fear or digestive problems? Fourthly, he sounds dreadful. Like I mean shockingly, appallingly dreadful. Is he deaf? Is Francis Ford Coppola? Lastly, STOP SNEERING! Every second line he lifts his lip like Mr.Ed the horse, stop it! (Sorry, I hate annoying micro-movements...). Though Gary Oldman (what a legend) does somewhat redeem things with one hell of an evil Dracula laugh at 2.02minutes.

The following video is a collection of early moments of accent attack with the train speech starting at 0.55seconds. If the video isn't working, you can find an external link by clicking here.

Oh and as a bonus clip, the single worst delivery of the entire film and Keanu Reeves testimony to how talent and success may not have any correlation whatsoever!

See you for the next one on our list at 4pm on Sunday due to my own inept time-keeping, til then!

Film - Best Worst Moments (Accents Edition No.1) - Street Fighter - Guile's Speech

Hey all!

Time for something a little different. As many of you know, I'm a huge fan of dreadful cinema. Few things cheers me up like watching Steven Segal pretend he can still fight nowadays when he resembles a glazed ham and nothing balances my karma like watching Shaquille O'Neill act exclusively with his teeth and giant bald head. Bad movies are just good movies in cunning disguises, once you figure them out a whole world of campy delights is yours!

As I've been watching a lot of awful films lately, I've noticed language is the first great barrier for many actors. Accents can under-mine performances, ruin otherwise solid dialogue and sometimes make a bad movie into a stone-cold classic of mumbled phonetics and mis-pronunciation. Over the next few days I'm running the first of my series of Best Worst scenes, the accent edition. If people like these I may do more again in the future. In the meantime, here's No.1, an updated version of a scene I reviewed on my last website, for all the old fans. Which is to say Sally (BFF etc). Anyhow, enjoy!

Best Worst Scenes (Accents Edition) No.1 -

Guile defies orders in Street Fighter : The Movie

Guilty Party - Jean Claude Van Damme.

Street Fighter : The Movie is a comedic gem. From M Bison (Raul Julia) eating all the scenery and shitting plaster (R.I.P you magnificent bastard) to some genuinely funny moments involving Zangief (Andrew Bryniarski) and Dee Jay (Miguel A. Nunez Jr.), be it casually rolling their eyes at their bosses insane statements or bemoaning their non-payment in the most goofy way possible.

While Raul Julia is the over-all highlight of this film, the stand-out scene firmly belongs to Jean Cluade Van Damme and his portrayal of Colonel Guile (formerly Major Guile in the games). Playing one of the most all-American characters in any game, would you cast a man notorious for his poor English and incredibly thick Belgium accent? Still, when he isn't breaking up cage matches with a tank or pointlessly chilling out in a body bag (seriously) Guile is raising the troops spirits with some hilarious dialogue. Case in point, Guiles inspiration speech to his troops upon being told that the war is over and Bison has won. Here is a transcription of the speech, accent intact, to give you some idea of why I'm pretty sure the troops cheer at the end out of confusion...

Guile (takes podium, looks somberly at his troops) : True purrs, I jury-sieved new ore-ders.

Hour superiors s-hay de whoar eis can-selled; weekend all go hom.

Bye-sun eis gidding pay uff for heez crimes, and are frense who half dyed hair will half dyed fa nathing.

Bud, weekend all go hom. Mean while, I deers like piss, free dumb, and just-dis: dey get pecked up.

Bud, weekend all go hom. Whale, I'm nut goin home. I'm gonna get on my bh-oat, and I'm going up ree-ver, and I'm going to KE-ICK... dat sunufa bitch Bison's ass so HORDE... dat de necks Bison wallaby as gunna fill et.

No who ones to go hum, and who whants to go whiff me!

Witness the scene in all it's glory here (his speech starts at 1.28mins into the video). For added point's, you have got to love the snobby British guy who seems positively uplifted by his side's surrender. Jolly good show. But before you watch it, I must warn you. You may loss your balls. If there are any problems with the viewer below, there is an external link, just click here.

See you tomorrow at 4pm for the next thrilling installment, til then!

Film Review - Battle: Los Angeles

Hey All. Or rather, Hoo-rah!

That's right, I'm reviewing the current critical bomb and box-office smash Battle: Los Angeles. So what's the odds that a big snotty wanker like me is going to hate this?

No sir, l'm here today to honour the brave men of 1st Company Cliché, the bravest marines Aaron Eckhart has ever known, especially Private 8 Year-Old Boy, Corporal Cannon-Fodder and Lieutenant Ethnic Minority. From their mixed racial backgrounds to the mandatory one gay porn-star mustache per platoon, these soldiers bravely bore the burden of simultaneously battling all that was gloriously OTT from Black Hawk Down, Starship Trooper and Cloverfield. As I said before, Hoo-rah!

So Awesome, RATM Wrote About It 11 Years Before It Happened

Staff Sargent Michael Nantz (Arron Eckhart) is our protagonist, the lone survivor of a suicidal operation in Iraq that saw his old squad wiped out. As he will repeatedly point out to us in a fashion most emo, they were the bravest Marines he had ever known. On the eve of his retirement some thoughtless aliens come along to ruin his party. Also, to kill us all and take our water. Thus he must go once more into the breach, assisting newly graduated Lieutenant Martinez (Roman Rodriguez, in what I assume is a slight homage to Aliens) and his squad of war movie favourites including angry black guy with issues regarding Nantz, white virgin rookie who looks worried/constipated a lot and hard-as-nails female pilot Santos (Michelle Rodriguez, fresh off her piloting tour of Planet Pandora)

So while the set-up is uninspired, the rest of the movie is so tongue-in-cheek that it probably caused director Jonathan Liebesman permanent disfiguration. Whether it's the soldiers stopping their slow and totally exposed advance up a dusty street to LOUDLY play with a dog, a helicopter refusing to take children because it's already full of barely-injured Marines or several of the most hilariously "dramatic" speeches since former president George Bush, this film is a hoot. Its silly to the point of borderline nonsensical at times and over-flowing with wounded American self-importance and pride. It's the kind of film where every problem can be over-come with a rousing Marine Corp chorus of "Retreat? Hell No! Retreat? Hell No!" Those points are not criticism, rather selling points for Battle : Los Angeles, one of the funniest alien invasion films ever. Even if it doesn't seem to realise it half the time.

Semper Fi? Semper Fun!

Even if the plot is predictable (the biggest shock being some of the minority characters actually survive) the effects are at least passable. Some, such as the flying drones, look like cheap green-screen effects. Others, such as the first landing and the aliens squadrons forming on rooftops look excellent. Overall the effects do their job pretty well and even if the cracks appear at times it only adds to the silly fun. Sometimes the film's effects can be quite original, with an interesting steam-punk alien motif and a (vaguely anime) Walker-Tank stand-off being one of my favourite moments of the film.

The acting is solid and the cast manage to deliver their lines without rolling their eyes or winking directly at the camera. Aaron Eckhart shows that he can solidly head whatever kind of film he damn well pleases, making his character compelling even when he should be pointed and laughed at. The other characters are developed enough so that we care if they die but not so much that we will recall it ten minutes later. The aliens on the other hand are not developed in the slightest and only serve as a guilt-free exercise in slaughter for the American Army, who were probably dying for a real challenge after years of bombing third world countries anyhow.

Nope, No Terrorists Here

One interesting thing about Battle : Los Angeles is it's non-stop action. After the fighting starts there are very few breaks in an almost 2 hour running time. While numbness does set in later in the film, I was impressed at how immersed the audience gets in the fighting, which is mostly done in a hand-held, quasi-POV (point of view) style, giving the film the Cloverfield feel I mentioned earlier. The intensity this generates keeps the film from ever feeling too tired and generates a lot of the entertainment, even if it is of the mostly brain-dead variety. This has the knock-on effect of making this entire film feel like the audience is inside a computer game at times.

HAXXX! "Pew Pew Pew". Lol, N00bs.

So while a film that includes making a little boy an honorary Marine (and of course pointing out how he is the bravest Marine Aaron Eckhart has ever known) should be given an awful score, I can't lie and pretend I didn't have a great time watching it. Is it dumb? Yes. Is it hammy? Yes. Is it more enjoyable then so much of the crap I typically end up seeing in the cinema? Hoo-rah! It certainly isn't smart or life changing, just simple, easy to digest entertainment. So consider the score below to be a recommendation for anyone who thought Starship Trooper was insanely enjoyable and not just in a false patriotism kind of way. 


Otherwise, just give it a two out of five and go see The King's Speech again instead.

Rating : 4 out of 5 - Regretful Alien Bastards, "Who Regret Coming To Earth, Regret Invading And Regret Getting Their Asses Kicked By The Marine Corp. (Hoo-Rah!)"

See If You Like : Starship Trooper, The Term "Hoo-Rah", Amazing Advertising Campaigns (Seriously, The Trailers And Posters For This Are As Note-Worthy As The Film Itself).

Til next time!

Film Review - Black Swan

Hey all!

So I bet your all really excited about Darren Aronofsky's latest directorial work Black Swan, arn't you? The tale of a ballet dancer Nina (Natalie Portman), obsessed with perfection and ultimately devoured by her desire to be the best, the film cleverly parallels the ballet Swan Lake itself. Critics have been raving about this one for quite some time. 


Apparently this film contains Natalie Portman's greatest performance to date (Even better then her performance in Star Wars : Attack Of The Clones? No way!), a dark, foreboding tone and amazing camera work by the always visually-impressive Aronofsky.

Oh yes, you may also have heard of this.

My God, Her Bracelet Is Amazing!

Interesting how a film that wants to be a clever art-house piece would scream so much about one small same-sex oral sex scene between Natalie Portman and Mila Kunis. While I get that this is an attractive proposal for any red-blooded male/female/inanimate household object (I mean DAMN!), this scene still got more press time then the fact Portman practiced for this film's ballet scenes for a full year. This sex scene was mentioned in interviews, in previews, in official press updates, hell it even appears for a few seconds in the trailer! What kind of art-house film promotes itself so strongly on a sex scene that barely lasts one minute and is not really all that sexy? Hmm...

But to be fair, all the other speculation you have heard is true. The entire cast act their little cotton socks off and the camera work is without fault. Black Swan takes you into the dancing along with the performers, allowing you to glide, float, trip, crash and burn along with them. It is an incredibly showcase for how beautiful and moving ballet can be, with the camera itself a dancer amongst the cast. The oppressive New York background highlights how scared Nina is of the world around her and the constant use of extreme close-up's reminds us that this is the world as seen by her.

Darran Aronofsky has made no secret of the fact that Black Swan is a companion piece to his 2008 masterpiece The Wrestler. Both are tales of individuals in love with their chosen career, which is also killing them, be it socially, mentally or physically. Both films open with a brief showcase of their respective professions and both films end with a very similar shot of grand ambiguity. Sadly Aronofsky forgot one vital thing. The Wrestler seemed to know what the fuck it was doing.

Black Swan does not.

"How Could Sinister Be So Mean!?"

The biggest issue with Black Swan is strangely enough the character of Nina, even though Portman rightly deserves the oscar buzz for her acting here (although Vincent Cassell and Barbara Hershey repeatedly steal scenes from under her). A 26 year old who is trapped in a Carrie-esque relationship with her domineering tyrant mother, Nina is the sort of character that should be easy to find sympathy for. Sadly, the film never really tries to flesh out Nina beyond what is strictly needed for the story. It's not her fault she's a whiny, neurotic and horribly boring character, its her wicked Mother Erica (Barbara Hershey). Seriously, one of the central pillars of this bold, exciting, fresh art-house horror-thriller is the tired cliché of a mean Mommy being the root of a characters personal problems? Since Nina is never portrayed as being flawed (beyond being "too perfect") there is no chance for her to learn from her mistakes or improve. At the same time, Nina is never shown as being directly to blame for her actions either, it all being the fault of her delusions and other characters pushing her too hard.

Nina lives a joyless, robotic life of endless ballet practice and non-stop worry. She is never shown to enjoy ballet (or indeed enjoy much of anything) and when reality starts to break down for her the audience is still given no reason to care. She is unbearably uninteresting and since the entire film is shown through her eyes the tedium of her life quickly becomes a chore for the audience to endure. Portman clearly does her absolute best with the material given (which mostly seems to be crying, whining and discovering puberty). I can't fault Portman in the slightest and I must stress how amazing her performance is in-spite of what she is given to work with. Since Nina is given sod-all to do as a character, this leaves the concept of personal transformation somewhat hollow. She is given a character who starts the film crazy and ends the film crazier, with the transformation seeming to be less within her character and more in that she now smiles a little. Powerful stuff indeed.

I mentioned the mean Mommy cliché already but that's far from the only one. Need an artistically driven, quasi-rapist dance instructor? Thank you Thomas Leroy (Vincent Cassel) for setting the French people back to the Looney Toons era of race presentation. How about making Ballet more competitive then Rollerball or Deathrace? Women here will do anything to get ahead, including whoring themselves out to any men in reach. As we all know, wanton sex and hardcore drug use are the only ways to truly liberate oneself. Give in to the dark-side Nina, go clubbing!

The Farce Is Strong With This One

For an art-house horror-thriller, the horror elements are handled with more camp then a dozen bat-bombs could destroy. Mental deterioration seems to function by digitally-swapping Nina's face onto other people (not scary), making reflections act strangely (not scary) and forcing Winona Ryder to over-act (very funny). A scene in which Winona Ryder's retired dancer Beth repeatedly self-mutilates herself is more forced then most child-births. Nina seems to see nothing wrong with taking mind-altering drugs while her reality is falling apart and then seems genuinely confused that this ends poorly. Male ballerina's smirk as they leave a dance studio, knowing that Thomas is probably going to force himself on Nina. And that's funny apparently...?

Would no one think to ring the Police on this well-known forceful sex-offender? Why doesn't Nina leave her controlling mother (who she seems well able to resist when pushed)? Why is Lily (Mila Kunis) so obsessed with getting Nina's role yet so unconcerned about dancing or dieting correctly? Nina orgasms after a 20 second oral sex moment, is that normal? Have I been doing it wrong all this time? Characters do not act like this in real life! Everyone and ever scenario in this film is the laziest kind of cypher, existing only so far as the plot demands without ever trying to make any real sense.

Already I can hear some of you complaining that since the film is shot exclusively from Nina's perspective some scenes can be allowed to not make sense. Fair point, but that still doesn't make it any more interesting, rather instead suggesting that even when suffering serious mental break-down Nina is still duller then an Irish Summer. I can live with an unpleasant film if it has a point to make, like Irreversible (rape is bad) or The Human Centipede (poo is unpleasant as a food group). Black Swan gives us nothing to even walk away with. 


After making declining mental well-being out to be goofy and kitsch, after making professional dancers out to be back-stabbing bitches, after boring us and expecting us to be grateful for it, the film ends on a semi-triumphant note?! Its ok to lose your mind utterly so long as your number one? While the ending does carry the same ambiguous tone as The Wrestler at least there we understood why Randy would choose to potentially die in the ring. Its perfectly fitting and a glorious way for the film to end, regardless of it you agreed with his decision or not. In Black Swan, it can only be described as a mercy in that now the audience can leave. Nina lives and dies a sick, lonely, friendless woman and yet it is implied (very heavily by the score, lighting and tone of the ending) that this can be seen as uplifting. How is this scene or indeed this film in any way uplifting? Does this film have anything to say at all beyond madness being unpleasant? Whats the point!?

That Doesn't Count!

If you want a film about mental breakdown and horror then go see Roman Polanski's Repulsion, which Black Swan so desperately wants to be best friends with. If you want to see mental breakdown with a sympathetic and even darkly funny twist then go see Falling Down. If you like to see soft-corn girl on girl action and silly scene-set ups then go look at porn on late night television. If you want to see a film that can genuinely call itself one of the best of 2011 so far, go see 127 Hours. I can't recommend Black Swan, not even to ballet enthusiasts as Portman seems to have offended them as well! 


The sad thing is the germ of a great film is here. In particular, the relationship with Nina's Mother could have been explored in far more depth. Was Erica evil or was a lot of their relationship inside Nina's head? We see Erica being very kind to Nina as well as cruel, even trying to stop Nina performing when it appears she is losing her grip on reality. But like everything else in the film, this idea is scraped in favour of a big dark void of nothing. All the positives only seem to make the over-bearing weight of the film heavier, leaving Black Swan a joyless, beautiful mess, much like Nina herself.

Til next time!

Rating : 1.5 out of 5 - For At Least Being Very Well-Shot.

See If You Like : Natalie Portman In Revealing Clothes.

Film Review - Tron Legacy

28 years after the film Tron graced cinemas, its sequel finally comes out, along with one of the biggest viral campaigns in history, second only to The Dark Knight’s legendary advertising behemoth. Receiving rave peek-previews at the San Diego Comic Con three years in a row, this film has clearly been a labour of love for newcomer director Joseph Kosinski. But does that make it worth the wait?

Tron Legacy begins roughly 8 years after the end of Tron. Kevin Flynn (Jeff Bridges) is putting his son Sam to bed, all the while telling the story of the first film. It’s a warm and comfortable intro that invokes nostalgia in fans of the origi… Oh sweet Christ-on-a-bike its Shrek!

GIT OUTTA MAAA SWAMP!!!

Wow, for a film with a huge effects budget, the de-aging effect used on Jeff Bridges is simply woeful. While you may forgive this effect later when the film moves to inside the virtual world of Tron, here in the supposed real world it is terrifying, the marked uncanny-valley effect being scarier then anything in Paranormal Activities 2. Why does the world of Tron look so amazing yet de-aged Jeff Bridges look like he belongs in a cartoon?

Ahem, so after that rather unsettling opening we cut to 20 years later. Kevin mysteriously vanished long ago and we are introduced to grown-up Sam Flynn (Garrett Hedlund). Sam is now the majority Stockholder of Encom, his fathers old company. This doesn’t seem to stop him breaking into it and stealing technology he technically already owns. Sadly, this is the most minor plot-hole the film will expect us to over-look.

One mysterious beeper message later and Sam is off to his father’s old arcade where he discovers how to access Tron by mistake. Sadly, some things have changed in 28 years. Clu, the once benevolent program from the first film, has become a dictator striving for a perfect utopia. Kevin Flynn is now a fugitive and the character of Tron is nowhere to be seen…

One of the great things about the original Tron was how far it pushed boundaries, not just technological ones either. Questions ranging from the nature of technology itself to the basis of religious superstition were all asked. So could the sequel, as well as highlighting the huge jumps in technology, potentially ask even more questions about technology and the human condition? Could Tron Legacy prove itself a blockbuster with smarts, an Inception 2.0 if you will?

Oh goodness no.

Instead it’s just another loud, flashy and very pretty piece of popcorn cinema. Sizable portions of the world established in the original Tron are not referenced here. Everything from the concept of programs unwinding at gladiatorial-style games to Martin Sheen’s appearance as a David Bowie-esque nightclub owner all seem silly inside a fascist perfection-obsessed virtual world. A potential interesting side-story about internal program genocide is passed over quickly. Characters allegiances are switched without any real forewarning. The film is awash with plot-holes that range from irritating to almost insulting. While Quorra (Olivia Wilde) is a pretty and ass-kicking addition to the cast, it’s never good when a central character with a tragic past is given little to do beyond look pretty.

Admittedly the visuals are breath taking, particularly during the cyber-cycle scenes. The score by Daft Punk (who have a fun cameo) is also excellent, up there with The Social Network as the best score of 2010. While the film does have its plot issues, they never become bad enough to derail it, mostly down to a brisk pace and several smart little scenes, including a form of cyber-surgery that is strangely beautiful. The greatest strength of Tron Legacy is Bridges however, who runs away with the film by playing Kevin Flynn as though he were the Dude 2.0 (now with added Zen protocols) from The Big Lebowski. Its a glorious nod to Bridge's most famous performance that could almost make a grown nerd cry.

"What The Fuck Has Anything Got To Do With Tron?!"

It’s not like Tron Legacy is a hard or unpleasant film to watch. There is fun to be had and set pieces to enjoy. It’s a treat for the eyes and a 127-minute smoke break for the mind. However it falls far short of its potential and is an inferior sequel to Tron, which you’d be better off catching instead.

Final Score : 3 out of 5 - Apologies For A Late Review (Sorry!)

See If You Like : Tron, The Dude, The Best In French Techno.

Til next time!