easternkicks.com » Sympathy For Mr Vengeance

Out on DVD today: Love Exposure and Thirst

Andrew Heskins — Mon, 25 Jan 2010 10:00:26 +0000

Surely, no need to highlight that Park Chan-wook critically acclaimed Thirst gets released by Palisades Tartan on Blu-ray and DVD? Highly enjoyable, funny and intelligent, it’s everything you’d want from a post-modern vampire film but were too afraid you’d end up with Twilight, instead.

Also out today – and sharing a common theme in Catholism – is the four-hour epic Love Exposure, from writer-director Sion Sono (Exte: Hair Extensions). Highly inventive and less of an endurance test than you might expect at that length, to my mind the end result is flawed – not helped by the lack of chemistry between leads Takahiro Nishijima and the delightful Hikari Mitsushima.

Air Doll (LFF 2009)

Andrew Heskins — Fri, 20 Nov 2009 10:00:20 +0000

With an interesting premise that goes awry, Hirokazu Kore-eda’s blow-up doll may develop a heart, but where’s the films soul?

In the first of a (short) series we look at some of the more interesting films that premiered at the recent 2009 London Film Festival and will, hopefully, make it to a wider audience. First up is Air Doll, director Hirokazu Kore-eda’s latest offering about an inflatable sex doll that comes to life…

The doll in question belongs Hideo (Itsuji Itao, Death Note: The Last Name, Tokyo Gore Police, Love Exposure), who treats the sex doll more like a living companion, dressing her up, talking to her over dinner, and generally caring for her far more than he would a real girlfriend (with a great sense of irony by director Kore-eda).

One day the doll he calls Nozomi (Bae Doo-Na, The Host, Sympathy for Mr. Vengeance, Barking Dogs Never Bite) comes to life, and begins living a real, second life when he goes to work. Naively exploring the world outside her apartment, she soon encounters various urban residents who are as metaphorically ‘empty inside’ as she is for real. Getting a job at a local video store, she befriends her colleague Junichi (Arata, Bare Essence of Life, 20th Century Boys, Ping Pong), with whom she learns about life through films they watch together there.

As that friendship turns to love, she begins to know what it feels like to be a real human, but that happiness is soon interrupted by tragedy…

This isn’t the first film to feature a sex doll. In the past we’ve seen Lars And The Real Girl and delusional schlock horror Love Object, but it’s the first to show it from the dolls perspective. Of course, Kore-eda’s film is far more than an obvious look at the objectification of women in today’s society – it’s a tender meditation on the isolation of urban life, and loneliness each of his characters feel, and what it means to be human.

Based on the manga The Pneumatic Figure of a Girl by Yoshie Gouda – himself no stranger to live-action adaptations with the recent very successful version of Happily Ever After – the core themes are by no means uncommon. Indeed, even the more spectacular science fiction of Ghost In The Shell has at its heart the same question, what does it mean to be a living being.

As with previous films like Hana (which itself played at the London Film Festival two years ago), Kore-eda keeps his characters to a core ensemble, as they reoccur and we learn more about their lives. Each is fractured and dysfunctional in some way or another, all have a certain emptiness. Yet somehow the film itself fails to connect, like it’s as empty as the subject. It may have heart, but lacks the soul and warmth of Hana (which to my mind has been one of the most enjoyable and overlooked Samurai period films of recent years). It’s almost as if the director is holding us at the same distance we keep ourselves from our urban neighbours. (And again, not an uncommon themes, particularly in Japanese films.)

It’s when Nozomi meets her maker, the film really loses its way. It dithers for half an hour, seemingly unsure of where it wants to go, coming to a tragic but ultimately unsatisfying conclusion. When he asks if she has seen anything other than sadness in this world, she shakes her head. In many ways, it’s not unlike John Sayles interesting but flawed The Brother From Another Planet.

Korean actress Bae Doo-Na gives another solid performance in the lead, if oddly almost unrecognisable – her nationality successfully adding a level or two to Nozomi’s alienation and general bewilderment. Indeed, spending much of the film naked is bound to please long-time fans of her work, though Kore-eda’s direction is not at all salacious. Its only after she accidently nicks herself, letting precious air out of her body, and Junichi saves her by blowing her up, both sensual and hilarious, that his film gets remotes sexy – which seems somewhat fitting.

Kore-eda’s film is a great concept, and pretty well played out. Worth seeing. It just makes you wish some bright spark would hurry up and licence Hana (not to mention pretty much all of Kore-eda’s back catalogue!) for UK release, though…

Release round-up: Thirst and more…

Andrew Heskins — Mon, 16 Nov 2009 10:00:05 +0000

Just a quick round-up of some future releases to look forward to:

Of course, the chief one will be Park Chan-wook’s Thirst, coming to DVD and Blu-ray on 25 January 2010, an undoubtedly one of the biggest releases for the newly reborn Palisades Tartan label.

January also sees the release of The Twins Effect and Sniper director Dante Lam’s The Beast Stalker as a two-disc collectors edition. Starring Nicholas Tse (Dragon Tiger Gate; New Police Story; The Medallion) and Jingchu Zhang (Rush Hour 3; Seven Swords), this kinetic crime-thriller gets released on 4 January 2010 by Cine Asia.

There’s also the Ong-Bak styled Thai martial arts film, Fireball, from producer Adirek Watleela (Bang Rajan, Bangkok Dangerous) and director Thanakorn Pongsuwan (Opapatika, The Story Of X-Circle). Fireball is released on DVD and Blu-ray by E1 Entertainment.

Just to remind you that the Tetsuya Nakashima scripted sex comedy Lalo Pipo is on limited release around the UK. Those based in the UK and fully digital (shouldn’t we all be) may be interested to know that Film4 is showing Nakashima’s epic Memories Of Matsuko and (the arguably more impressive) Kamikaze Girls, as well as Kiyoshi Kurosawa’s Tokyo Sonata, so set your PVRs.

DVD & Blu-ray: Thirst

Andrew Heskins — Fri, 13 Nov 2009 19:41:14 +0000

Following its hugely successful theatrical release in October, which saw it being hailed as Film of the Week in both Time Out and The Guardian and being awarded Four Star reviews in The Daily Express, Time Out, The Sun, Empire, Total Film and Loaded, Park Chan-wook’s THIRST comes to DVD and Blu-ray on 25th January 2009.

The joint winner of the Jury Prize at the 2010 Cannes Film Festival, THIRST sees the director of such acclaimed and varied films as the military thriller “JSA: Joint Security Area”, the comedy romance “I’m A Cyborg” and the standout movie of his “vengeance” trilogy “Oldboy” further emphasising his versatility as a storyteller and a filmmaker by turning his hand to Western horror traditions and taking on the ever-popular vampire genre.

Very loosely based on Emile Zola’s novel “Therese Raquin”, the story concerns a priest who, accidentally cursed with vampirism, is thrown into a whirlpool of moral decline that leads to him into a nightmare world of lust, adultery and murder.

Sang-hyun (Song Kang-ho) is a priest who cherishes life; so much so, that he selflessly volunteers for a secret vaccine research project designed to eradicate a deadly virus. When the virus is found to be affecting the priest and threatening his life, a blood transfusion is urgently ordered up for him. However, the blood he receives is unknowingly infected, the result of the transfusion being that Sang-hyun survives the viral attack but now exists as a vampire dependent upon the life blood of others.

Struggling with his newfound carnal desire for this vital fluid, Sang-hyun’s faith is further strained when a childhood friend’s wife, Tae-ju (Kim Ok-vin), comes to him asking for his help in escaping her tormented life. It’s not long before the former priest is plunged headlong into a world of sensual pleasures, finding himself on intimate terms with the deadliest of the Seven Sins.

Starring Song Kang-ho as Sang-hyun (The Host; The Good, The Bad, The Weird; Lady Vengeance; Sympathy For Mr. Vengeance) and Kim Ok-vin as Tae-ju (Dasepo Naughty Girls; The Accidental Gangster), THIRST is a visceral, thought-provoking and darkly comic exploration of human existence in extreme circumstances from one of the most original and provocative directors working in modern cinema.

THIRST (cert. 18) will be released on DVD (£19.99) and Blu-ray (£24.99) by Palisades Tartan on 25th January 2010.

DVD Features
Audio commentary by director Park Chan-wook; Dolby 2.0 and 5.1 and half-rate DTS 5.1 audio options; trailer; UK exclusive interview with Park Chan-wook.

Blu-ray Features
Audio commentary by director Park Chan-wook; Dolby 2.0 and 5.1 and DTS 5.1 audio options; trailer; UK exclusive interview with Park Chan-wook.

In cinemas today: Ong Bak: The Beginning and Thirst

Andrew Heskins — Fri, 16 Oct 2009 09:00:36 +0000

Out in cinemas across the UK today, not one but two major releases for Asian film fans. Ong Bak: The Beginning, courtesy of Revolver Entertainment, and Thirst, courtesy of Metrodome/Palisades Tartan.

Here’s just a taster of that epic finale scene Ong Bak: The Beginning to keep you going…

Thirst

Andrew Heskins — Tue, 13 Oct 2009 09:00:14 +0000

One of the worlds finest directors returns with a superb deconstructionist take on the Vampire myth…

It’s been a couple of years since Park Chan-wook’s I’m A Cyborg, But It’s Okay opened to somewhat mixed reactions. His visually delightful, if rather offbeat romantic comedy failed to find an audience even in South Korea, let alone the rest of the world. Seemingly audiences want something more obviously sinister from Park – not that I’m A Cyborg wasn’t riddled with darker themes – and that’s just what he’s given them in Thirst…

The remarkably versatile Kong Sang-ho, who appeared in Park’s breakthrough film JSA and Sympathy For Mr Vengeance, plays well-meaning Catholic priest Sang-hyun, a volunteer at a local hospital who decides to breakout of the endless cycle of human sadness by participating in an experiment to find a vaccine for the deadly Emmanuel Virus. The experiment fails, and Sang-hyun becomes fully infected with the disease, but after receiving a blood transfusion to save his life he finds he begins to recover astonishingly quickly.

News travels fast of Sang-hyun’s recovery, with devout parishioners camping outside church grounds, convinced he has great healing powers. Meanwhile the true nature of his recovery soon becomes clear as he finds himself drawn to human blood, and without it his virus quickly relapses. During this time he meets an old, childhood friend Kang-woo (Kong’s co-star in JSA and Sympathy Shin Ha-kyun) and becomes attracted to his downtrodden wife Tae-joo (Kim Ok-vin, Dasepo Naughty Girls, Voice/Yeogo gwae-dam 4).

That attraction soon grows into an affair between the two, but as Sang-hyun’s desire for Tae-joo grows, his hold over his own personal morality and the bloodthirsty urges he can only barely keep a hold on blurs, and he soon succumbs to the sins of the flesh…

(Readers beware – possible spoilers ahead…!)

Park describes the film as being some 10 years in the making. Initial sketches that Park had inspired a the central notion of a Catholic priest turned into a vampire, but it was an idea to marry these with Émile Zola’s 19th Century novel Thérèse Raquin that enabled him to bring Thirst to the screen. Oddly, if anything it echoes Sympathy for Mr Vengeance, and those recurring themes of the moral innocent, in this case the priest, corrupted by events and manipulation. The major difference being the redemption that was rarely a part of his earlier films.

After the ocular overload of I’m A Cyborg (which I highly recommended to anyone in the film or advertising media – those of you who haven’t already ripped it off – even if you can’t dig the rom-com elements) in comparison Thirst is a remarkably stripped down affair, even though Park once again collaborates with cinematographer Chung Chung-hoon, who’s been involved in every feature the director has made since Old Boy. If anything, the one thing it most obviously has in common is a more developed sense of Park’s black humour.

Around the grimly unpleasant, gory goings on Park drops in plenty of on screen laughs. Somehow the mix of ‘bodyshock’, almost David Cronenberg-esque horror – played up well thanks to a keen ear for unpleasant, gut-wrenching sounds – makes for an occasionally queasy watch. (Let’s face it – it’s not like Park Chan-wook has been known to pull back from what he shows on screen.) And yet it’s also often hilarious!

This time Park’s focus is far more on a simple telling of the story itself, rather than using flashy techniques or surprises. There are no flashbacks, for the first time since Sympathy For Mr Vengeance, and no last-minute reveals. The movie seems desaturated, under designed and almost as if it was filmed on a 70s film stock, but is still typically arresting. Park appears to have stripped the film of self-conscious effects to counter to the fantastic nature of the plot.

(Indeed, easily the least successful scene of the movie is the overly CGI’d scene where Sang-hyun chases a newly ‘turned’ Tae-joo leaping over the rooftops of the town. Again, the preposterous scene plays straight into a heightened awareness of Park’s humour, yet is utterly incongruous with the minimalist approach of the rest of the film. I hate the way human forms are animated in CGI!)

The lightness of touch is greatly helped by a fantastic ensemble cast including sterling performances including Kim Hae-sok as Tae-joo’s mother in law; Song Young-chang as Seung-dae, an aging Police chief and family friend (who appeared as Sang-ho’s marvellously overbearing bully of a boss in The Foul King); Park In-hwan (The Quiet Family) as blind mentor priest Noh; and Oh Dai-su. It allows Park to use fleeting glances to imply the back-story behind the characters without explanation, and just like that lack of flashbacks, he never feels the need to spoon feed the audience with a full explanation of what happen to Sang-hyun in the first place.

Oddly Tae-joo’s ‘godless’ character is ultimately without boundaries, she enjoys the full potential of her new-found powers with no boundaries, but Park’s sympathies seem to lie with Sang-hyun. There’s an implication here that you need faith or a religion to keep you in line? Her character’s manipulation of Sang-hyun echoes that of Kim Novak over James Stewart in Vertigo, or even Richard Todd’s deception over Jane Wyman in Stage Fright.

Coincidently a companion piece of sorts to Tomas Alfredson’s Let The Right One In – Park is keen to point out that he wasn’t aware of the resurgence of Vampires as a popular theme (don’t even think of mentioning Twilight!) – it mirror that films deconstruction of the vampire myth. Both owe much to the more adventurous, independent horror of the 70s. Films like George A. Romeo’s Martin and Kathyrn Bigelow’s Near Dark spring readily to mind, though– as we’ll reveal in our interview later in the week – it was a lesser-known film from the 80s that influenced Thirst.

Once again this is a fine piece of work from Park, and worthy of an audience beyond Asian film fans. My one criticism is that my sympathies don’t connect the characters, particularly the lead Sang-hyun, in the way that I’d ultimately hope they would. It’s surprising, considering that it’s Kong Sang-ho, undeniably one of the finest actors in film today. Not sure why….

But this is still a ‘must-see’!

Thirst is released in UK cinemas on Friday 16 October, with a DVD and Blu-ray release early in the new year from Palisades Tartan.

Ong Bak 2 and Park Chan-wook’s Thirst UK release date revealed

Andrew Heskins — Fri, 24 Jul 2009 09:00:59 +0000

According to Launching Films Ong Bak 2, to be retitled Ong Bak: The Beginning (though that makes as much sense as calling it Ong Bak in the first place!) is going to be released in the UK on 16 October by Revolver Entertainment. Bizarrely, that’s the same day Park Chan-wook’s vampire flick Thirst is released by Metrodome, which won the Jury prize at Cannes and stars the brilliant Song Kang-ho (who also appeared in Chan-wook’s JSA, Sympathy For Mr Vengeance and Lady Vengeance). Hmmm, someone thought that through, didn’t they?

Studio Ghibli’s latest, however, Ponyo On The Cliff, directed by the Oscar-winning Hayao Miyazaki, however, still doesn’t have a UK release date, even though Walt Disney are releasing it in the US on 14 August…

Cinema: Thirst

Andrew Heskins — Thu, 23 Jul 2009 19:18:59 +0000

Korean director Park Chan-wook’s vampire flick Thirst, which won the Jury prize at Cannes Film Festival, will be released in UK cinemas on 16 October by Metrodome in association with Palisades Tartan – the new name for the Tartan label which went out of business July last year .

To coincide with the film’s release, Palisades Tartan has launched a competition offering entrants the chance to win a trip for two to London to attend the UK premiere of Thirst and to have lunch with Park Chan-Wook.

The Good, The Bad, The Weird in UK cinemas today – win an exclusive signed poster!

Andrew Heskins — Fri, 06 Feb 2009 10:00:28 +0000

Kim Jee-woon’s The Good, The Bad, The Weird is released in selected cinemas around the UK today, and we’re giving away a poster exclusively signed by the director!

We recently interviewed director Kim Jee-woon and lead star Lee Byung-hun, and reviewed the film back when it premiered at the London Film Festival. It’s a fantastic spectacle of a movie, a return to old-fashioned pre-CGI thrills, and if not quite as intelligent as A Tale Of Two Sisters and A Bittersweet Life still well worth seeing on the big screen!

To enter the competition and win a signed copy of the films poster, simply fill out the form below. The competition will close 28 February 2009.

This competition has now closed.

Any information given is purely for the purposes of this competition. No information will be held after the competiton closes and will not be shared with any third parties. The winner will be drawn at random when the competition closes.

The Good, The Bad, The Weird interviews, pt 2: Kim Jee-woon

Andrew Heskins — Fri, 30 Jan 2009 10:00:00 +0000

The director of A Bittersweet Life and A Tale Of Two Sisters talks about his latest movie, a homage to Sergio Leone’s The Good, The Bad & The Ugly…

It’s an exceptionally mild November day, though you wouldn’t know it to look at Kim Jee-woon. In London to attend a premiere of his latest film The Good, The Bad, The Weird at the London Korean Film Festival, Kim initially appears rugged up in hat and scarf behind a pair of sunglasses.

Due for theatrical release in the UK on 6 February, audiences around the world are lapping up this enjoyable yarn about a thief, a merciless assassin and a bounty hunter (not to mention bandits and the Japanese army) racing across 1930s Manchuria to find a supposed treasure. His most ambitious film to date, its as much a celebration of filmmaking craft as a homage to Spaghetti Western auteur Sergio Leone, the old-fashioned thrill of real stunts and epic landscapes that came before an over reliance on CGI. (Rather the way the last Indiana Jones film should have been…!)

Kim Jee-woon’s debut feature in 1998, The Quiet Family, was one of the first to get South Korea truly noticed in the international film scene, joining the likes of Lee Chang-dong’s Green Fish, Lee Myung-se’s Nowhere To Hide and Kang Je-gyu’s Shiri. An offbeat comedy about a family’s disastrous attempt to run a lodge in a remote area, particularly as their clientele keep dying, you might know it better as Takeshi Miike’s (very) loose remake The Happiness of the Katakuris, though it also inspired a Hong Kong version.

(Ironically Miike’s Spaghetti – or as the Japanese would have it, Macaroni – Western inspired film Sukiyaki Western Django is released on DVD the same week as Kim’s The Good, The Bad, The Weird opens at cinemas.)

And as if launching his own career and helping put Korean filmmakers on the map wasn’t enough, perhaps his shrewdest move must have been casting future Korean superstars Song Kang-ho (The Host, Memories Of Murder, Sympathy For Mr Vengeance) and Choi Min-sik (Old Boy, Chihwaseon, Failan).

Since then Kim may not have been as prolific as some of his peers, producing just three feature-length movies (and two shorts) in the interim, but has brought an intelligence and excellence to all that he has produced. Far more than write his own scripts, Kim involves himself heavily at every level, from set to props to wardrobe. It accounts for why each project takes a significant amount of time to make it to the big screen. (Or it could just be he’s a control freak?)

I look again at Kim, remembering what Lee Byung-hun told me about how he’s all about the details, and notice how meticulously picked out his clothes seem. From the slapstick wrestling comedy The Foul King, which also starred Song Kang-ho, to the horror-driven A Tale Of Two Sisters (also to be remade, this time by Hollywood as The Uninvited) his films show that keen attention to detail. Indeed the set design helps turn the house the sisters live in – covered in beautiful but deliberately overpowering flock wallpaper designs – into a character in its own right. His last movie A Bittersweet Life, starring Lee Byung-hun as a mob enforcer who makes the mistake of betraying his boss, also contained a high level of set design, including a stunningly designed bar called ‘La Dolce Vita’ (‘The Sweet Life’ being a more literal translation of the original Korean title).

The Good, The Bad, The Weird reunites Kim with Lee and Kong Sang-ho. Its had a mixed reception back in Korea, perhaps because it superficially seems less complex than much of his work, its unashamedly popcorn fodder. So why did he decide on the more traditional narrative approach of a Western in the first place?

As Kim points out, the Western may be a familiar genre for a Western audience, but not for Koreans. He was concerned that his core Korean audience should feel comfortable with it, so gave it a more traditional narrative despite the twist in location and characters. But he was also concerned about making what for many is an outdated genre, so he considered how he could make it more entertaining and appeal to modern audiences. He wanted to put in much more action than a normal Western film, he saw it as more of a spectacle, with grand action sequences, and between those he placed more humour – he wanted to create a balance with the pace and order of the film, a rhythm.

So did that make it an ‘Oriental Western’? He first coined the phrase after becoming frustrated trying to explain what his next film would be. He’d say it was a Manchurian action film and no one would understand, so instead he started calling it an ‘Oriental Western’, and that worked. He also thinks it reflects the dynamic aspects of the film, and that in turn reflects the Korean people.

Once he heard Korea described to the South America of East Asia, people are so passionate and emotional, and in that way they are lively too.

It’s strange to hear him get caught up discussing a genre. From the ‘gore comedy’ of The Quiet Family to the psychological horror of A Tale Of Two Sisters, and now a Western, Kim has managed to defying getting stuck on any genre during his career. A rare luxury for any director – imagine a young Martin Scorsese without gangsters or Hitchcock without a falsely accused man. And it’s true even in Korea, where even creative directors like Park Chan-wook can find it easy to get caught up in a series vengeance films. Indeed, perhaps only Kim Ki-duk (Spring, Summer, Fall, Winter… and Spring, The Isle, 3-Iron) has experienced the same freedom.

Kim modestly replies it’s because he didn’t know what he was best at. Also working with such a wide, uninhibited range of genres gives him a cinematic energy and often inspires him. So far he hasn’t a thriller, spy or a sci-fi film, so those are genres he’s considering next. Having said that, this year he was knocked out by two American films, the Coen Brothers’ No Country For Old Men and David Finch’s Zodiac – so now he’s thinking about how he could revisit a genre in a more, as he puts it, macho way.

Does he think there’s any recurring theme in these movies? ‘I don’t know!’ he replies in English. He admits that all his lead characters tend to be naïve or simplistic. The other recurring aspect? The wind. It often plays a part in his films, though not directly referenced it’s very important to him. But if you ask him why, he doesn’t know.

So what about the films obvious homage to Sergio Leone’s The Good, The Bad & The Ugly? He had always liked American Westerns, the classics like High Noon, Rio Bravo, Gunfight At OK Coral, but found they always included too many American values and ideology. It didn’t relate to a young Korean growing up in Asia. Then along came Sergio Leone and turned the Western on its head. He was amazed by how unconventional it was. He found it quite shocking, and that feeling was something he wanted to translate to this film.

At that time one of the strangest things was that no one is actually the good guy, they’re all a muddy grey, at best, even the main character. He believes it’s why people say that after him things became so much more realistic.

His spin on The Good, The Bad & The Ugly is to have the Ugly (or in Kim’s case Weird) lead the story rather then the good, which he thought would make the film more interesting.

One important influence Kim is keen to point out is a little known Korean Western he discovered while filming, a 1971 film by Lee Man-hui called Break The Chain. Some of his other influences come from surprising references. The chase scenes recall Mad Max (also known as The Road Warrior) and even Ben Hur. For the multicultural, multinational settlements in Manchuria he looked to Ridley Scott’s Blade Runner.

In fact when he was preparing the film, he showed the cast and crew Mad Max, telling them they were going to make a faster, better, more exciting film. Unsurprisingly they began to ask, what kind of film are we making?

And just how difficult was the film to shoot? The worst thing was the heat. They filmed in August, when the temperature got as high as 40 degrees Celsius, so subsequently they all got sick. The extended chase scene at the end with all the horses and trucks also caused some problems, in the end they ended up having to actually build a new road of 30 km for the horse riding! It didn’t help that the budget was raised during filming, but that only made him happier with how the film came out in the end, so he’s very pleased with it.

As a parting shot I ask him about the Hollywood remake of A Tale Of Two Sisters, The Uninvited, having had so much involvement in the original was he asked for any input into the new film? Not at all, and he feels it’s probably better that they exist as two completely separate films. He even heard they actually made a good job of it (hard to believe!) but some of it he feels would have been hard to translate, not just in cultural references but in a sensibility that fear can’t explain. He wanted to show how following ones desire can change people, and how that desire can lead to craziness.

The Good, The Bad, The Weird is released on UK DVD and Blu-ray by Icon Home Entertainment on 1 June 2009.

Thanks to Chris Lawrence of Icon Film Distribution and Paul Smith of The Associates for setting up the interview, and of course Kim Jee-woon for his time.

easternkicks.com » Sympathy For Mr Vengeance

Out on DVD today: Love Exposure and Thirst

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