Dallas Fisher

    Tag: horror

    • FYC 2025 Part 3

      Shelby Oaks

      A video game cut scene of a movie, where every moment moves the plot backwards. You can definitely tell this was directed by a Youtuber and it hurts. It’s like Chris wanted to throw bits and pieces of every horror movie he liked into one. All that crowdfunded money made for one of the blandest stories and worst looking horror films of the decade.

      0.4/5

      No Other Choice

      You know how chaotic Horrible Bosses is? Well take that to a whole nother level where Park Chan-wook masterfully breaks open what it feels like to be on a job hunt in today’s working world. This is cartoonish, offbeat, rare, and his transitions that will blow your mind in all the best ways.

      4.3/5

      The Secret Agent

      Reverting back to high school math for this review. Imagine a bell curve on a graph and then flip it upside down. The first portion is so intriguing, and it quickly turns into something so uninteresting and bizarre. Wagner Moura is quietly impressive and I’m thrilled that the end of the movie turns everything around.

      3/5

      Nuremberg

      I was very scared this entire movie would be a courtroom drama, but luckily it’s only some of it. This film is so fascinating because of its history and hard truths. Rami Malek is likeable and fierce, Russell Crowe can play a Nazi too well, and everyone else is a killer. Should be contender for many things but will be forgotten in the ether of 2025 releases, which is a real shame.

      3.4/5

      Keeper

      Sleeper. Osbad Perkins. Whatever funny pun you want to use, works here. It was trying so hard to be original that it felt too familiar, and familiar here actually means second-rate.

      1/5

      K-POP Demon Hunters

      The movie itself is very very average, but I could feel the phenomena behind it from the jump. A majority of the songs are bangers and some actually gave me goosebumps. I loved the mix in animation style that was used and the main characters are a lot of fun to live with for the runtime as it exists. I wouldn’t hate seeing more movies like this, but for once the songs overshadowed the message.

      3.3/5

      Springsteen

      A complete nothing of a biopic. It’s never exciting or interesting and it chose a time in Bruce’s life that either felt like 1 month or 10 years, but it was impossible to tell. This also felt like a story of a man who wasn’t famous at the time of this story, or ever, so I was unsure why this was even told, espcially now. (I know he is very famous but this movie doesn’t convey that in the slightest)

      2.6/5

      Jay Kelly

      A movie where George Clooney is basically playing himself should have felt so felt hoity-toity,  instead it is one of the most endearing sotires of the year. Noah Baumbach deliciously unfolds a journey that had every ounce of my attention. It is one of the few films this year that made me chuckle, cry, and drop my jaw throughout. The screenplay is tremendous and the ensemble cast is a sight to behold.

      I will add that I’m thrilled to see Adam Sandler in more dramatic roles, but we’ve got to calm down on the Best Supporting Actor train.

      4.2/5


      Song Sung Blue

      Hugh Jackson and Kate Hudson are the most impressive actors that can sing, well with each other, that we have this year. Outside of their singing, they did feel a little out of place in these roles. For something that was a biopic, it felt like much more of a fantasy when it clearly wanted to tell a more down to earth story. If I was a Neil Diamond fan, I would have loved this movie, I think.

      2.4/5

      The Testament of Ann Lee

      Amanda, Fucking. Seyfried. WOW her voice is so incredible and whatever type of singing you want to call this, is her wheelhouse for sure. There were moments that gave me chills and I was wrapped up in the symmetrical displays of cinematography. I do my best to care when it comes to religion in any form of a story, but here it comes off as a little posturing (even if it’s historically accurate). The repetitive nature was overstimulating to say the least.

      In the words of my finance “I can admire a movie without liking it”

      2.9/5

    • FYC 2025 Part 2

      It Was Just an Accident

      An all around story that keeps you on your toes. The direction from Jafar Panahi is some of the best of the year. The way he lingers on everything almost pulls your eyes into the screen and I couldn’t wait to see where this story went. I will never forget the final moments of this film.

      4.1

      The Mastermind

      Slow and methodical. Two words you probably wouldn’t use to describe a heist, but that’s how this one plays out. It smartly uses its dumb characters to play out this story. The framing (ha) of this picture is beyond words. If only it was showing something fully intact.

      3.3/5

      Bad Guys 2

      DNF


      Wake Up Dead Man: A Knives Out Mystery

      My least favorite of the franchise and it’s still a blast. At times it gets a little heavy handed with its mystery, but the characters make this one run like always. Would you be shocked to hear that Daniel Craig isn’t the best at his craft in this? That’s because Josh O’Conner is doing something I’ve never seen before, and that’s to make religious characters fascinating. The costume design is top notch, it’s hilarious, dramatic, and it stays loyal to the franchise while still keeping you guessing. Even though you can feel the length, I’m envious of the superb level of seductiveness this ensemble cast brings to the table.

      3.8/5

      Sentimental Value

      I know this is going to sound too negative, but I found this to be a little dry. After The Worst Person in the World my expectations were so high, clearly too high. Everyone involved in an acting sense is so tremendous. Respectfully, they’re all doing some of their best work and deserve the highest of praises. That being said, I was waiting for the big, or multiple small, emotional moments, and they never fully came. I hate saying this, but it requires a second watch for me, but still lands in my top 20 on the year.

      4.1/5

      Rental Family

      The sweetest Bredan Fraser has ever been. Fraser and the rest of the incredible cast steal your heart immediately with a lovely story that goes in a direction I was happily surprised with. In many ways this can be compared to Lost in Translation, except the people are likeable. Prepare your eyes for tears and your mouth for smiles, Rental Family is the feel good movie of the year.

      4.2/5

      V/H/S Halloween

      Porn has better acting than most of these segments. The camera has become a crutch to the point where this franchise is overwhelmingly forced and repetitive. It’s no longer fun or scary to watch these, which is a shame when 2 is one of my favorite modern horror films. What used to be some of the most original anthology pieces has now become a yearly laughing stock at home. I don’t even know if I should say laughing stock, because I honestly get no physical reaction out of these anymore.

      0.8/5

      The Plague

      Mysterious? Sure. All that mystery ultimately leads to no payoff. The pool scenes are incredible to look at and I really dug the vibes. If someone would have told me equal parts Full Metal Jacket and Let the Right One In came together in a movie, I would have been stoked. Too bad it’s all edging. As always, I was hoping for more Joel Edgerton on screen.

      2.5/5

      Kiss of the Spider Woman

      This movie is so unintentionally funny because Jennifer Lopez is the worst aspect of her own movie. I get why they made this partially a musical, but it only detracted from the things that were remotely interesting. The story in the prison with Diego Luna and Tonatiuh is actually captivating but its impact is shortened every time it cuts back to whatever JLO was doing. This is a story that deserved to be told, just in a different way.

      2/5

      The Roses

      Multiple levels of unfunny comedic bashings that continually try to no avail. Its unrealistic nature ruins the realistic setting that could have worked if you played to any of the actors strengths. I never saw The War of the Roses, but this feels like a slap in the face to it. This is all such a shame when most of the people involved have the capabilities of being funny and entertaining. Really hard to watch at times.

      1.5/5

    • Twin Cities Film Fest Recap

      Twin Cities Film Fest: 10 Days. 150+ Movies. 2 Theaters.

      My stats: 7 Days. 6 Movies. 2 Theaters.

      This was my second ever festival experience and my first at TCFF and it’s safe to say there are many ups and downs to the whole thing. Here I will get into both sides of the coin and offer up my thoughts on all the films I saw, whether it was in person or at home with the screening pass.

      Before the fest even started I had the director of I’ve Seen All I Need to See reach out to me for a collaboration. This was such a cool opportunity that I couldn’t pass up. I was able to create a post for a competition on instagram and thankfully two people won the chance to go see the movie. I was unable to see the movie in person but watched it on the streaming pass. If you like moody dramas and metal music, it’s worth checking out!

      I went through my first day scenario and Hamnet thoughts in a separate blog that you can find on my page, but I will touch on that a little more. I firmly believe sitting front row for a big time awards film affected my thoughts on it and that sucks. While the story wasn’t my typical cup of tea, everyone involved in it was, and I didn’t like it as much as everyone else seemed to have. Now I’ll never see it again for the first time and I might not ever want to in general. I’ve had a few situations where an important movie was watched in undesirable circumstances and I never take the time to go back to them. To end this paragraph I do want to give anonymous shoutouts to a few TCFF employees that reached out to me to discuss my issues that night, you were truly helpful and understanding.

      My second day was a much better time all around, as I was placed in a better seat and got to see one of the better surprises of the year in Christy. Can you believe Sydney Sweeney made a better combat sport biopic than The Rock this year?? Sweeney is likeable, at least to me, for the first time in her acting career. If you ignore her on again, off again accent, this is by far her best and most dynamic performance that we’ve seen from her. Sure, it’s not the greatest in the realm of biopics and its over two hour runtime isn’t ideal, but this does a lot of different things right. Seek it out when it hits theaters very soon.

      I know I said my second day at the fest was better all around, but that was a lie. That’s because I walked up on a guy actively breaking into my car as I was leaving the movie. I heard a car alarm go off in the direction of where I was walking and took the time to hit the lock button on my fob just in case it was mine. Sure enough, it was for me! And there was a guy standing at my car asking if the alarmed car in question was mine. Now listen, I’m a person with a pretty calm demeanor, so I wasn’t immediately upset or yelling at this guy. I just asked him what he was doing at my car and he tried to gaslight me by saying he walked up to it with the windows and door already open. At this point I had already locked the car again, yet his hand was still on the door handle. I told him “I can take care of my own car” and he said okay and got into his own car (which of course was right next to mine) but not before a few more seconds of spouting lies. I slammed my door shut and headed home.

      I took a few day break from the fest and returned back to the theater on Tuesday night to check out a movie called Cotton Candy Bubble Gum. The only reason I chose this one was because of its timing (my fiance was working) and it was a comedy, so I thought I would give something different a chance. This night was a disaster to say the least… Ten seconds into the movie, I knew this wasn’t for me. It’s a bad sight when a writer makes a comedian unfunny on screen while using every curse word and Final Cut Pro filter to only bring the movie down even more. I say all this with having only watched ⅔ of the films because of technical issues. Twice within the middle section of the movie, it cut to black. On that second instance, I cut my losses and left the theater knowing nothing could have changed my mind on the thing anyway.

      Now Wednesday night was a big night, I was seeing Bugonia. The Newest film, and most recent collaboration between Yorgos Lanthimos and Emma Stone. I knew nothing about this film going in, except Stone was bald in it and that’s all I needed. I knew a lot of people at this screening and for the first time, this felt like a community event. There was a photobooth set up from the studio and they were handing out free t-shirts. These things brought a memory I will never forget.

      Now as far as the movie goes, I wasn’t quite as impressed. I will start with the things I was impressed by though. Emma is sensational.This was the most I have liked her in the Yorgos era. Not only was the shaving of her head worth it, it was necessary. The score is brilliant and magnifies the intensity of everything happening on screen. Yorgos also knows how to make the small things feel huge. Now Jesse Plemmons, he was out of place. I usually love him, but this felt like something he would have done early on in his career. The story also felt too similar to a different film that I won’t spoil (and yes I know this is a remake* of a 2000’s film). I can admit this is a very weird film while also feeling too accessible for the “normies”. Usually you walk away from a Yorgos film talking about how little you understood but how you still loved the ride. Here I understood everything and was left a little unimpressed with the outcome. I’ll score this one a 3 out of 5 here because of how much I loved Emma in it.

      The screening of the fest for me ended up being Rental Family. I had plans to see a couple more on the final night but life happens.

      Now Rental Family. Starring Breandan Fraser, this immediately became one of my favorites of the year. Brendan has recently been such a sweet presence on screen and this movie was no different. It takes this story in lovely directions that I was not expecting. I don’t have too much to say on it, mainly because my eyes hurt, but seek this movie out when you get a chance. It’s the feel good movie of the year with performances that will steal your heart, and I’m not exclusively talking about Fraser. I was so happy I was able to make a movie at the Edina Mann theater work in my schedule.

      Thank you to everyone that put these films on at TCFF. Thank you TCFF, MNFCA, and everyone that has read this. I will always be grateful for the opportunities to attend events like this. My experiences weren’t the most ideal at times, but some things weren’t in anyone’s control.

      Final Ranking of Films

      1. Rental Family
      2. Hamnet
      3. Christy
      4. Bugonia
      5. I’ve Seen All I Need to See
      6. Cotton Candy Bubble Gum

      Maybe if I ever become a full time movie person, I will have time for more films at festivals.

      Until next time.

    • A House of Dynamite

      Kathryn Bigelow is the master of political thrillers and it’s a shame it took almost a decade and a half to get another good one out of her.

      A House of Dynamite pits the president, journalists and everyone in between against a rogue nuke on its way to the United States, and that’s what makes this the scariest movie of the year. Not only is it too realistic for our own good, it’s laid out in a way that you can’t dare look away. Bigelow takes what could be considered boring, phone calls and Zoom meetings, and turns them into the most interesting spectacles of the year. This movie is absolutely the most engaging, edge of your seat thriller you will see for a long time.

      This plays out more like a three part mini-series than it does a movie, and that’s mostly for its benefit. Each segment is equally as gripping as the last even as it shows the same beats play out, just from a more specified angle. Choices are made that order you to pay attention to it beyond the film. Even at two hours with a repetitive nature, it moves quicker than most. It’s strategic in showing, or not showing, dilemmas that countdown towards a destructive ending.

      The acting from everyone involved is nuclear and decapitating, with the reality of these situations lifted to unbelievable heights. Some of my favorite performances of the year fill this movie, but they will never be spoken about because of their short lived status. Every performance builds tension with a taste in that air that can only be described as palpable. Rebecca Ferguson is a force, Jared Harris and Tracy Letts are demanding, and Anthony Ramos is finally likeable.

      Saying all these positives leads me to the most unfortunate aspect of it, the “ending”. Make sure you don’t look at your watch to know when it’s coming, because honestly it’s still nice to know what is coming, without knowing exactly when. It’s almost like the writer (Noah Oppenheim) wanted this to be a cliffhanger for a second season of a show we are never going to get. Instead, we get something that isn’t satisfying, nor complete. If the final few moments matched the rest of the film, we would be talking about one of the movies of the year.

      Brace yourself, catch your breath, and make sure you have the knees when this comes on your radar.

      8/10

    • The Lost Bus

      Paul Greengrass perfected a genre in directing with what he did on a few of the Bourne films. Bringing that same style to a movie where a bus driver is operating a vehicle while talking on the phone doesn’t quite hit on the same level. Now listen, The Lost Bus absolutely has its place in front of the right audience. I might not be that audience.

      Matthew McConaughey came out of a 5+ year leading man retirement to act against a cell phone, that is the most disappointing aspect of this entire project. You had two pretty great actors in Matthew and his cohort America Ferrera, but neither one of them got the opportunity to do much outside of those phone calls and shooing faceless children along. As you can tell, I don’t like movies where the main character is on the phone for a majority of their screen time. Maybe this story just wasn’t meant to be told in this format, because drama and disaster are shoved to the side in an attempt to give big names for screen time.

      Aside from the acting from our leads, this movie is a disaster movie that repeatedly hits you over the head with tragedy. A lot of the runtime it’s things that do little to nothing to move the plot forward or to give our leads exposition. It’s more of a trauma dump than anything. Dialogue is too explanatory and over the top C-level acting from the surrounding cast fills the air. I’m glad both sides are portrayed, but the responsibility of everyone involved is muddled with movie logic (especially with the kids) that made me want to step into the fires instead of away from them.

      Circling back to Mr. Greengrass. His direction was all over the place. On the positives, some choices made this feel like a found footage film that brings you into the realism of the situations. If a camera crew was on site for this type of disaster, I’d be more invested in the stakes. His camera movements also made it feel like a zombie war film, which did not fit the vibes. There were shots that felt stolen or unfinished, all while some POV shots reminded me of the black smoke from LOST, and all of that resulted in more of a comedic effect.

      Suffocating nightmarish situations are absolutely portrayed here, but they felt more like fiction in a non fiction world with the intermediate levels of acting and direction.

      5/10

    • Highest 2 Lowest

      So Spike Lee made another adaptation of a classic in Asian Cinema…

      This time around we have a loose adaptation of Kurosawa’s High and Low. I say loose but the only thing loose about it is the setting. It still involves a kidnapping with ransom and the moral dilemma of paying for someone that is not your kin. It sticks to that but switches up a few things like Denzel is playing a music mogul instead of a shoemaker. With so much stakes on the line you would think a movie like this would have more drama and suspense, except there’s basically only the opposite. Spike compromises morality for self-righteousness.

      The first and second act is filled with goofy levels of acting that are only brought up by the dialogue. Denzel is prolific in nature and continues that streak with his profound and biblical monologues. Casting Jeffrey Wright as the guy everyone wanted his character to be in American Fiction was certainly a choice, and not necessarily a good one. I won’t even say A$AP Rocky was a bad actor, what they did with him was though. In this story, it worked better when you don’t know who or why the antagonist is doing what they do. So, I’m not sure why he was given the third most speaking lines in this movie.

      Now we get to the technical side of things. What the hell was going on with the lighting and set design in this movie? First, it’s shot like a soap opera, bright, and with close ups like they’re taking head shots of the actors. And now I’m starting to think the intro with shots of the city was to trick us into thinking it was actually shot in NYC. So many times backdrops looked like blurred city skylines. Lee unapologetically uses that NYC setting to prove to us he likes living there, because this felt more like an ad for the city than a movie with a defined structure. I will say it was nice to see at least one Kurosawa homage in the shot selection, but it was so short lived that the rest of the staging felt like a slap in the face.

      Some of this is just painful to get through, but somehow rounds out an ending that is one of the best on the year. There’s no urgency to the central beats of the plot and the score is off beat the entire time. I was amazed, or entranced, watching this movie. I knew it couldn’t be this bad but now I’m thinking that it might be. Spike was so focused on the culture of the people in the movie and NYC that he forgot how to make the other aspects of a movie cohesive and watchable. Maybe watching High and Low for the first time a week before seeing this made for a bad comparison, but also maybe Spike Lee is out of touch once again with this adaptation.

      I will be abstaining from a score, but those were my thoughts.

    • Freakier Friday

      Freakier Friday

      Welcome back to the world of the most iconic body swap franchise. Jamie Lee Curtis and Lindsay Lohan’s off the charts chemistry is immediately felt and it’s like they never stopped working together. It’s been 20-plus years for the long awaited followup, and we’ve added a few more family members into the swapping chaos. Some things are handled with a little more creativity than others, but the humor is still highly prevalent.

      Julia Butters has the chance to become a comedy staple after her performance in this movie. She’s absolutely hilarious and the rest of the over dramatized high school aspect really anchors that down. Whether it was on purpose or not, there’s a lot of Mean Girls vibes mixed up in the rebellious nature of this entry. I won’t specifically talk on who or how many swaps happen, but I will say there’s a few actors that were better than the others at being more genuine. I wish certain family members were involved instead of being completely written out. Plus, one important aspect is completely changed to the point that it ruins any ounce of credibility.

      It’s difficult to touch on too much with this movie, because of how much it is a rehash of the 2002 film. I’m not even saying that’s a bad thing, because Lohan and JLC being back together is such a delight in these roles. Just seeing them back in the stylish outfits, brings a lot of fun to the screen. Everyone feels more grown up and even the direction is much more mature.I will say there is a lack of urgency within the story itself that detracted a little from the fun in the middle, because it wanted to give everyone the screen time they deserved.

      The effort, emotions, and funny gags are all there, but it might be a little too crowded.

      6.6/10

    • M3GAN 2.0

      The bitch is back, but maybe she should have stayed dead. 

      A self aware sequel to the 2023 “hit” that attempts to bring us to the likes of T2 but fails by making things overly complicated. This franchise has a campiness that tends to work best when it follows the Evil Dead route, but instead we added almost a full other movie within itself. 

      I’ll start out with the things I loved, or at least enjoyed. Allison Williams is so likeable that it’s easy to look past the fact she’s kind of stale and not given a lot to do in the original or the first half of this movie. The action is pretty well done but would have benifited from a rated-R bump. The movie made me laugh, well Jemaine Clement did. Also, Megan as a character is so sassy that I couldn’t help but be entertained. And, that’s about it. 

      Why did they remove the horror aspect from this completely?? I get leaning into the comedy a little more, but this removes it so much that you forget what this was originally about (besides the fact they mention the plot of the first quite a few times). If you want to be a cross genre, that’s fine, but you can’t poorly execute half a dozen of them and expect it to fully work. 

      If you looked up the word panic in the dictionary, I think you’d find 80% of this movie playing on a loop. It’s mainly the characters planning and talking about what they’re going to do, and by the time we get to see those things play out, I don’t care anymore. There’s seriously so much talking to the point where it feels like most characters are trying so hard to be someone else. The family melodrama aspects couldn’t have been less interesting or important to the story. 

      As far as pacing goes, 2.0 almost makes a full arc that ends in a climatic setting. That setting is sadly only half way into the film. To no one’s surprise, there’s misdirectics that were there for the sake of having them and added no real stakes to the story. If the first half wasn’t spent in brash situations, we could have had time to focus on a little more of Megan and Co.

      M3GAN 2.0 feels unoriginal while also trying so much that it felt lost. You’ll have the smallest amount of fun if you buy in, but for me I couldn’t get past the message of the movie putting itself down. 

      2.6/10


    • 28 Years Later

      The world has waited a long time to see what has changed in the world of 28-Time Frame-Later, but was it worth the wait?

      Split into two halves, it’s almost like Garland and Boyle directed one each. Without a cohesive vision, I think it’s fair to say their chemistry has finally worn off. I know this world has never fully been about the “zombies,” but the human connection could have been more crisp. Aaron Taylor-Johnson and Jodie Comer are parents to a young boy, Spike (Alfie Williams). Spike slowly became the focus of the film and will determine your involvement in its enjoyment.

      To kick off the movie we get a father-son dynamic that worked for me. It builds a bond and helps develop care for the two we spend a solid chunk of time with. The tone and music slip right into the world we are familiar with and wanted. Introduced to the infected, we get something fresh, bloody, and nasty. Arrows rip through them like a replay in an NFL game and each one becomes more of a trophy.

      Characters have very little playing time as it was seemingly not in the contracts to have more than two of them on screen at a time. Comer is the latest example of a female character to be bed stricken for a majority of their film. She does good enough with the situation given and surprisingly leads to the most interesting and beautiful part of the whole thing. The pieces that unfold to get her to that place were unnecessary rough though. 

      Visually stunning set pieces grace the screen in a movie that could have benefitted more by moving to even more of a grand scale. Going backwards was beneficial for minute reasons. There’s so much promise to this world that is missing one strong character to grab onto and it didn’t necessarily need more infected or humans being shown as the bad guys, but it needed some conflict outside of what we got.

      Knowing there’s a sequel to this sequel makes sense for the story we get, but it leads to a product that’s incomplete and really kills the excitement. 28 Years Later has killer music, strong performances, but feels like it’s trying to hide something more from the audience as it’s process is scattered and unevolved.

      Saving the last bit to really dig in how truly awful the ending was. I understand what it was coming back around to and what it was spelling out in a more grounded sense, but oh my is it executed poorly. The jarring nature of its presence is unwelcome and proves how weak the writing was.

      5.4/10

    • Sinners

      Sinners will satisfy fans of any genre.

      Ryan Coogler (Creed) really hasn’t missed yet, and he hits it out of the park here in a way never seen before. He’s a master storyteller and weaves this one around making you feel like you’re watching a superhero film, a western, a romance, and it even has some supernatural mixed in. Never in my life did I think a mashup of this scale would work, yet it does.

      Going into this only knowing it’s a story about twins (Michael B Jordan and Michael B Jordan) returning home to find a new evil in town, everything was a surprise. It’s unfair that Coogler was unable to bring such a scale and weight to a movie, that at its surface, should be a small town story with passeable characters. Jordan is making two roles work in a way that’ll have you believe he’s actually two separate actors. Hailee Steinfeld (True Grit) and the rest of the cast might not get much total screen time, but their roles fit them perfectly as a supporting cast.

      Real life history brings hate and meaning to this movie, with imagery that includes colors and words leaving you knowing exactly what they’re saying. The stylishly perfect costuming may put you back in time, but it doesn’t let you forget about the present. And, don’t let me forget about the music!

      Miles Caton plays Sammie, who is almost the main crux of the entire movie. His Footloose type story brings forward innocence and mystery, but most importantly he brings his voice and music talent. Miles, along with a few other actors, have some of the most important and goosebump inducing musical moments in decades. You’ll be stomping your feet while still wondering where this movie could possibly be going.

      Stories intertwine, blood flows, and awe will take over your body as you watch this unfold. I know it feels like I’m rambling about what could almost be any movie, but this is Sinners, the wildest, biggest, and one of the best movies of the year. You’ll be upset at yourself if you miss it. Go in blind so you can be just as gleefully surprised by its immense cinematography and astonishing story.

      8.7/10