MovieReview « Christian Sauvé

Super Troopers (2001)

(On DVD, September 2011) I watched this while in the mood for some dumb silliness, and got what I wanted: Super Troopers’s big comic premise is to transpose frat-boy antics onto a police context: Bored patrolmen playing head games with motorists, dumb policemen flying off in a rage, duelling corps trying to one-up each other. There really isn’t much more to this film. On the other hand, well, it does manage to be sporadically funny … and ten years later, Super Troopers still live on in internet pop culture in a series of memes and in-jokes. (“meow”, “mother of god” and “enhance –just print it” are the three that come up from time to time) Anything with even the slightest bit of pop-culture relevance after ten years is worth a quick look. The Broken Lizard comedy troupe that conceived Super Troopers is uneven: writer/director Jay Chandrasekhar is very funny, but many of the other either struggle to make an impression, or make a negative one. Production notes suggest that the budget of the film was ridiculously low, but it doesn’t show too much: while this is a low-budget film, its lack of funding doesn’t feel all that obtrusive. Perhaps the best thing about Super Troopers is that, for all of its self-indulgence in showcasing a comedy group in a deliberately dumb setting, it’s decently structured and, as a result, survives without too much trouble even a decade later. Small praise, but we can all remember far dumber comedies that are nigh-unwatchable even with the best viewers’ intentions.

Tags: Jay Chandrasekhar
MovieReview | No Comments »

Oldboy (2003)

(On DVD, September 2011) I really should have seen Oldboy earlier: Not only had it gotten widespread praise everywhere I looked, but I should know more about a popular director like Park Chan-wook. Oh well; there’s a time for everything, including watching Oldboy. From the get-go, we’re in interesting territory. Much like Quentin Tarantino, Chan-wook can’t help but play around with the grammar of cinema, and even the more familiar moments of the story have a cinephile kick to them. Not that there are many familiar moments, given the unusual premise: A seemingly ordinary man is held prisoner in a room for fifteen years, then abruptly released and encouraged to seek vengeance. The identity of the captor is a brief mystery as he quickly reveals himself to ask the hero to find out why he’s been held fifteen years. It’s easy to see why Oldboy got so much praise, with its mysteries upon mysteries, with a stylish sense of storytelling and a conclusion that upends the vengeance motif. Slickly executed and filled with odd little moments, this is a movie whose foreign origins make even better, as we’re plunged in contemporary South Korea for a thriller that would play just as effectively anywhere else. If, at times, it’s hard to differentiate between cultural barriers and the film’s elliptical sense of storytelling, it wraps up decently and doesn’t leave too many loose ends lying around. (On the other hand, the plot does get more and more far-fetched as it progresses, but given the premise, that’s to be expected.) Oldboy does live up to its great reviews; don’t wait as long as I did to see it.

Tags: Park Chan-wook
MovieReview | No Comments »

Debt, The (2011)

(In theaters, September 2011) Fall is the season of the serious thriller, and it’s hard to get more serious than the drama-heavy The Debt, an English-language remake of an Israeli film that looks at the price of vengeance. Here, the story hops between 1960s Berlin and the 1990s as three characters, then and now, deal with a botched mission in trying to bring back a war criminal to justice. It doesn’t take a long time to figure out that the story of the 1960s as told by the 90s characters has a few serious gaps; it takes longer to understand that its conclusion is a lie and that the consequences of that lie are still very much in play thirty years later. Directed without much levity, The Debt is good for a few suspense sequences, a look at a fallible Mossad and a structure that plays out over thirty years. Helen Mirren makes for a capable senior secret agent, whereas Jessica Chastain ably plays her, thirty years earlier. Otherwise, the film is unobjectionable: Solidly directed, competently acted and professionally executed, it’s a serious thriller that works better than most other suspense movies in theater. Sadly, it doesn’t quite shine –for all of its potential in setting a story across two time periods, it sometimes feel as if The Debt is timid in bringing all of its threads together, or playing off the ironic possibilities of its bifurcated structure. It’s not much of a criticism, but then again it’s hard to express exactly what’s missing when one feels that something is missing. It may be better to rejoice in the return of the serious thriller after an empty summer.

Tags: Helen Mirren, Jessica Chastain
MovieReview | No Comments »

Flammen & Citronen aka Flame & Citron (2008)

(On DVD, September 2011) It would have been so easy to take the basic premise of this film and make a big schlocky over-the-top action movie out of it: After all, what better than two distinctive assassins working together to kill Nazis during occupied WW2 Denmark to inspire gunfights, car chases and explosions? In fact, for short moments, it’s possible to mistake Flammen & Citronen for such an action movie. There’s gunplay, car chases and maybe an explosion or two. But make no mistake: As it advances, the film gets grimmer and grimmer, as it becomes obvious that the resistance is being exploited, that the Nazis may not all be worth a bullet in the head, and as the two lead characters fall in increasingly desperate circumstances. Sooner or later, their actions doom them to an inglorious end. Still, Flammen & Citronen does deliver in terms of entertainment, and the downbeat ending fits with the ambiguous thematic aspirations of the script. (It’s also faithful to the true story that inspired the film.) As a look at World War 2 from a different perspective than the Anglo-Saxon (or French) one, Flammen & Citronen is an entry on par to the Dutch Zwartboek / Black Book. (Even though Verhoeven’s film feels more polished, the pair makes for a splendid double feature.) The production values of the film as impressive, and the recreation of the era is believable. Thure Lindhardt and Mads Mikkelsen are fine in the title roles, but WW2 cinephiles will have more fun spotting Christian Berkel in yet another Nazi role. Flammen & Citronen got practically no play in North America, but it’s a world-class piece of cinema; anyone who thinks that there’s nothing more to say about World War 2 may want to have a look at this one.

Tags: Christian Berkel, Mads Mikkelsen, Thure Lindhardt
MovieReview | No Comments »

Zwartboek aka Black Book (2006)

(On DVD, August 2011) For a director who helped re-shape American popular cinema with four solid hits and one legendary failure in-between 1987’s Robocop and 1997’s Starship Troopers, Paul Verhoeven has been really quiet since the artistic failure of Hollow Man in 2000. To see his only film since then, you’d have to find Zwartboek, a World War 2 thriller in which a beautiful young Netherlander woman is stuck between the occupying Nazi forces and the local resistance movement during the last few days of the war. While, at first, Zwartboek seems to be just another resistance film, the increasingly messy tangle of allegiances makes for a far more interesting narrative, and a striking statement on what happens after victory is obtained: Accounts are settled, resentment surfaces as aggression and accusations are more effective than doubt. Produced with what feels like a decent budget by Netherlander standards, Zwartboek convincingly re-creates the period, and features more than decent production values. There are even a few chases and explosions to reassure us that, yes, it’s that Paul Verhoeven. But much of the film belongs to the actors, starting with Carice van Houten playing a merciless role as the heroine. (WW2 cinephiles will also recognize Christian Berkel from other similar movies as Valkyrie, Downfall and Inglourious Basterds, among many others.) Amusingly for a film featuring an unusual non-Anglo-Saxon viewpoint on WW2, Canadians get a fairly good portrait as the liberators toward the end of the story. Weaker points include a framing device that robs the film of a bit of suspense, and a clunky first act that seems to run around in coincidental circles, meeting everyone twice in the small universe of The Hague. Still, while the film’s solid European origins clearly show in the amount of casual nudity and the last act’s lack of moral certitudes, the overall result is an entertaining film that more than holds up to anything else in the world.

Tags: Carice van Houten, Paul Verhoeven
MovieReview | No Comments »

Best Worst Movie (2009)

(On cable TV, August 2011) A documentary about the revival of Troll 2 as a cult movie favourite by its grown-up child actor Michael Stephenson, Best Worst Movie is most interesting when it touches upon the lives of actors twenty years later. It wisely focuses on George Hardy, who shelved his acting ambitions to become a dentist and discovers to his surprise that the film has grown in popularity since its financially disastrous release. Going from his quiet Midwestern life to the film festival circuit, Hardy acts as the audience’s stand-in as he discovers the peculiar nature of cult movie aficionados. Best Worst Movie eventually ends up speaking to nearly every major contributor to Troll 2, showing us a bittersweet diversity of fates: From a New York Times bestselling author to a self-admitted failure, a reformed mental patient, a bitter delusional director and an actress whose hard life has left her unhinged from reality, the aftermath of a low-budget film proves fascinating to explore. At a time where film geeks can learn nearly everything about a film after its release on DVD, Best Worst Movie takes the long view and asks where minor actors can be found twenty years after a disreputable low-budget effort. (Some of them, still working in the industry, conveniently leave Troll 2 out of their resume.) There’s a dramatic arc of sorts to the film as Hardy briefly flirts with the idea of a revived acting career, then hits a wall at two major conventions and realizes how little he has to regret as a successful member of his community. A cult movie success doesn’t necessarily translate into broader horizons, and few seem to miss that point as completely as Troll 2 director Claudio Fragasso, who mistakes the trash-movie following for his earlier film as a repudiation of the critics’ savaging. (Admittedly, he may be self-consciously playing an Italian-director archetype here.) Best Worst Movie is an entertaining, not-always-funny trip through the underworld of cinema; the so-bad-it’s-good upside-down universe of horror cult films, the not-so-triumphant aftermath of lives after “being in a movie” and the unsettling realization that most bad movies never get even an affectionate cult revival, but slink away from mind without a single trace in popular culture. Despite the occasional laughs in Best Worst Movie, there’s enough in here to inspire sober reflection. I suppose that a more dispassionate filmmaker may have been able to dig a bit deeper in the issues raised by Troll 2’s cult revival; on the other hand, Michael Stephenson got access to nearly everyone of consequence, and the resulting film is far more affectionate about its subject than you may expect.

Tags: Claudio Fragasso, George Hardy, Michael Stephenson
MovieReview | No Comments »

Ice Quake (2010)

(On cable TV, August 2011) There isn’t much to be said about Ice Quake besides “made-for-TV science-fiction disaster movie”. From that curt description, everyone should understand that the film’s low-budget doesn’t allow it to match its own ambition. A small number of cookie-cutter characters, truncated action sequences, slap-dash special effects, stupid science, straightforward plotting and surprise-less drama quickly follow. Still, compared to the standards set by previous “Syfy Channel Specials”, Ice Quake is a bit better than most. The quality of the images is fairly nice: some Alaskan stock footage helps, but there are a few BC location sequences that are pretty in their own right. Thanks to the actors (including Brendan Fehr), the characters are somewhat sympathetic despite the ham-fisted screenwriting. More significantly, the film dares to attempt things like snow-bound location shooting, snowmobile stunts, CGI helicopter sequences and a kind of disaster (methane build-up, released in super-frozen geysers) that hasn’t yet been overused on film. It doesn’t really achieve complete success, but the attempt is ambitious and the level of quality could have been far worse. For hard-SF fans, the plot to the film is in the comforting template of scientists seeing a problem, understanding a problem and resolving the problem (also see: the joined-at-the-hip Movie Network/Super Écran made-for-TV disaster film Metal Tornado). The Christmas theme should play big around the holidays. Don’t expect much, and you just may be not entirely disappointed.

Tags: Brendan Fehr
MovieReview | No Comments »

30 Minutes or Less (2011)

(In theaters, August 2011) As a criminal comedy, there are a lot of similarities between this and Pineapple Express. Not only does Danny McBride has a prominent role in the two movies, but both are criminal comedies starring underperforming slackers in the lead roles. Here, a pizza delivery guy in his twenties is kidnapped by two other slackers, put in an explosive vest and told he’s got no other choice by go rob a bank. What follows is a quick 80-minutes tale of criminal stupidity and plucky heroes. Forget about social commentary, wholesome family entertainment or mind-expanding revelations: It’s pure comic character work set within a thriller template. Despite the film’s similarities to the Brian Douglas Wells criminal case, 30 Minutes or Less doesn’t claim to be based on a true story, and fortunately doesn’t try to remind aware audiences of the real-life drama. Jesse Eisenberg is a bit more tolerable than you’d expect as the lead, but it’s really Aziz Ansari and Michael Peña who steal the show in enjoyable supporting performance. The script is peppered by high-energy moments –including a car chase that plays with the conventions of the genre and a quick ending that’s over almost before we know it. The humour to too crude to be fully enjoyable, the violence is too gory to be forgettable and the rhythm is inconsistent, but 30 Minutes or Less still manages to score a few hits, and the tone is just controlled enough to avoid the exasperating immaturity of, say, Pineapple Express. While it’s a step down for Zombieland director Ruben Fleisher, it’s nonetheless an acceptable summertime crime comedy.

Tags: Aziz Ansari, Danny McBride, Jesse Eisenberg, Michael Peña, Ruben Fleisher
MovieReview | No Comments »

Rise of the Planet of the Apes (2011)

(In theaters, August 2011) Frankly, I wasn’t expecting much from Rise of the Planet of the Apes: I have no particular affinity for apes, would have left the Planet of the Apes series left for dead, and wasn’t overly impressed by the film’s trailer. But there’s no substitute for watching the movie, and the story’s slow, emotional build is ill-suited to be presented in a two-minute trailer. The best way to appreciate Rise of the Planet of the Apes is to ignore that it’s meant to be part of a larger story –not only will you avoid knowing the end of the story in advance, but you will also appreciate the somewhat more dramatically ambitious aims of this new film. There’s an easy answer to anyone wondering why the film needed to exist: the advances in computer graphics have enabled some amazing acting to be captured digitally and re-rendered as completely convincing simian creatures. No more men-in-suits: The newly-intelligent apes of this film are not only undistinguishable from the real thing, but have impeccably-controlled dramatic performances. Andy Serkis, in the lead performance as “Caesar”, steals the show from a sympathetic James Franco. Quite a number of sequences are not only wordless, but take place entirely between computer-generated creatures. The fact that most people won’t notice either particularity is testament to Rise of the Planet of the Apes’ success. Also worth mentioning is the good use of the San Francisco location, and the way the progressive dramatic build-up engrosses the audience. It’s hardly a perfect film (the end climax on the Golden Gate bridge seems almost too implausibly contrived to be credible, the theme is a bit too obviously “humans are scum” and the SF elements are conventional enough to appear as quasi-mainstream now) but it’s a great deal better than anyone would have expected ten years after the underwhelming Tim Burton remake. It’s been a while since special effects alone dictated a should-see movie, but Rise of the Planet of the Apes earns that accolade by using the technology to do something emotionally gripping.

Tags: Andy Serkis, James Franco
MovieReview | No Comments »

Funkytown (2011)

(On DVD, July 2011) I should begin by saying that I’m less impartial toward this film than most, having put together a web site for director Daniel Roby’s first feature film a few years ago. But even then, it’s hard not to be impressed by the scope of Funkytown, which looks at the late-seventies disco scene in Montréal through a large ensemble cast. The first few minutes are electrifying, as the characters are introduced within a fluid sequence. Patrick Huard headlines the film as an influential media personality whose decline forms the backbone of the film’s dramatic arc. Period music is used effectively, and the period is rendered in its glorious brown-and-gold glory. Not stopping at disco, Funkytown also dares to tackle the socio-political turmoil of the era (which would see the center of Canadian power shift from Montréal to Toronto as separatism led to an exodus of well-off decision-makers from one city to the other) and the rise of AIDS within the gay community. Loosely inspired by real events (look up the story of Alain Montpetit and Douglas Leopold for reference), Funkytown has enough plot to stuff an entire TV show season as seven or eight main characters jostle for attention. Screenwriter Steve Galluccio is able to keep everything intelligible, but the story cries out for a novel or a longer-form format, especially toward the end as subplots seem to be cut short. There’s still a decent amount of subtlety and depth to the end result, and the film’s soundtrack alone is worth a look. (Never mind the slight anachronisms, though.) The way both English and French dialogues are used, often in the same conversation, feels authentically Montréal-style. As one of the bigger-budgeted films in Quebec history, Funkytown has a decent dramatic heft and feels like a reasonably faithful look at the era. It’s a joy to watch even despite its downbeat dramatic trajectory, and will probably rank as a definitive piece for the era.

Tags: Daniel Roby, Patrick Huard
MovieReview | No Comments »

Fourth Kind, The (2009)

(On cable TV, July 2011) As someone who sees far too many movies in the first place (and once vowed to write something up for every single one of them), I’m probably friendlier toward straight-up experimentation than most. So never mind when writer/director Olatunde Osunsanmi claims that The Fourth Kind is all based on real events or when the film’s marketing takes pleasure in polluting the information space: I’m more interested in the way the film skips and hops in-between levels of fiction, splitting its screen four-way and trying everything it can think of to appeal to documentary viewing protocols. The fun begins in the very first moment of the film, as Milla Jovovich gamely tells us she’s a movie star playing someone else. From that moment on, we cut between putative archival material (featuring director Osunsanmi interviewing “the real Abigail Tyler”, who’s really Charlotte Milchard in an uncredited role) and a more conventional dramatic rendition of events with a very small cast led by Jovovich, Will Patton and Elias Koteas. The Fourth Kind has a wobbly fourth wall, directly asking its audience to believe. As interesting as it can be to see two levels of fiction playing off each other (sometimes in similar camera angles shown side-to-side), it’s an experiment that shoots itself in the foot in constantly reminding us about the level of fakery of the more conventionally-shot segments, and then shoots itself again in the other foot when we remind ourselves that even the pseudo-documentary footage is just as fake. Oh, it’s entertaining itself to see a film self-destruct in this fashion and then hobble around screaming (and oh boy, is there a lot of screaming in The Fourth Kind) as it falls apart. (There’s so much hand-held wobble that even the split-screen itself moves around, earning a snicker as if the film itself couldn’t decide which footage to show.) But the film’s interest has little to do with its effectiveness as a horror film, because we’re left with a muddle of UFOs, Summerian myth, distorted voices and unexplained events. In its lack of ultimate release, The Fourth Kind is once again trading satisfaction for interest: while it’s unusual to see a horror film hold on so steadfastly to audience satisfaction denial, it doesn’t make it any better from a narrative viewpoint, and it sure looks as if the film doesn’t deliver a conclusion by lack of imagination or guts rather than purposeful enigma. It amounts to a film that jaded horror fans may appreciate for what it attempts to do rather than what it achieves.

Tags: Charlotte Milchard, Milla Jovovich, Olatunde Osunsanmi
MovieReview | No Comments »

Enter the Dragon (1973)

(On cable TV, July 2011) Given Enter the Dragon’s importance within the martial arts film genre, it’s a bit surprising that I hadn’t seen the film until now. Well, that’s now done, and checking this film off my to-watch-some-day list wasn’t much of a chore. Bruce Lee’s performance is compelling, but the film has, in aging, become a brief period look at early-seventies Hong Kong, followed by a deliciously unconscious take on the James-Bondian “Megalomaniac Island” plot device. (Better yet is the period-inspired Black-Power character played by Jim Kelly, who definitely doesn’t get enough screen time.) Even though scripting isn’t high on the priorities of martial arts films, Enter the Dragon has a few interesting refinements: The introduction of the main character is handled through flashbacks, the final fight has thematic visual ambitions, and there are a few well-done moments in-between. It’s surprisingly coherent, but best of all it leads to a few well-shot fighting sequences that don’t chop the action in excessive cutting. It’s pleasant to watch, and doesn’t necessarily ask viewers to forgive its flaws. Lee is fantastic, both charismatic as an actor, and intense as a martial artist (there’s a sequence with nunchucks that will leave most viewers going “wow!”); too bad this ended up being his last film. This is still well-worth a look; keep your eyes open for a few surprises. If you think you spot a young Jackie Chan somewhere in the movie, well… you just may be right.

Tags: Bruce Lee, Jackie Chan, Jim Kelly
MovieReview | No Comments »

Cowboys & Aliens (2011)

(In theaters, July 2011) There’s no real reason to dislike the western/Science Fiction hybrid Cowboys & Aliens, but no real reason to love it either. It plays surprisingly straight, what with Daniel Craig and Harrison out-gruffing each other on the way to rid the Earth of an alien menace. The SF elements are weak (Mining gold? Really? Did they miss all the asteroids on their way here?), the action sequence lack a certain oomph and the film seems happy just delivering the goods in more or less the same way the audience expects. Given that even competence is sometimes missing from Hollywood blockbuster, the acknowledgement that Cowboys & Aliens does deliver on its promises should be seen as a compliment. (If nothing else, you do get both Cowboys and Aliens. Happy?) The problem is that there’s little more to director Jon Favreau’s film. After a thorny first act, everything reverts to unthreatening adventure with a perfunctory finale and the self-simplification of the script is particularly harmful to its SF elements: There’s little rhyme or reason to the aliens’ capabilities except for dramatic effect, and at the point it becomes harder for the viewer to actually form expectations or build any kind of suspense if narrative rabbits are going to be taken out of various orifices. Interestingly enough, some of the better works comes from supporting actors: Sam Rockwell is once again unrecognizable in an atypical role far from his better-known characters; Adam Beach is earnest and sympathetic; whereas Olivia Wilde manages to carry an element of ethereal difference to her character beyond simply looking pretty. Oh, Cowboys & Aliens plays well and satisfies base expectations. There’s just a nagging feeling that the film could have been just a little bit more…

Tags: Adam Beach, Daniel Craig, Harrison Ford, Jon Favreau, Olivia Wilde, Sam Rockwell
MovieReview | No Comments »

Captain America: The First Avenger (2011)

(In theaters, July 2011) The inherent nationalism of the Captain America character makes it a tricky sell outside the United States. How best to translate a superhero originally developed to tap into pro-American anti-Nazi fever to an international audience that, to put it politely, may not believe as much in American exceptionalism? Nazis, unsurprisingly, are part of the answer: This Captain America not only takes places during World War 2 (albeit a dieselpunk-verging-on-atompunk fantasy version of WW2) and squares off against a supernatural Nazi opponent, but director Joe Johnston also adopts an un-ironic filming style reminiscent of classic adventure films. Fortunately, it all fits together, with a little surprise at the end: Trying something a bit different from other films superhero films proves to be a good idea, and Captain America turns into a refreshingly old-fashioned entertainment. A good chunk of the fun belongs to Chris Evans, who takes on the square-jawed heroics with unselfconscious honesty; good supporting roles also go to Hugo Weaving as the villainous Red Skull, Stanley Tucci as an eccentric mentor and Tommy Lee Jones, chewing on the kind of gruff military man role he’s so naturally suited for. The story plays itself out over a few years, with a few unexpected hooks and references to the real-world history of Captain America: keep your eyes out for a reproduction of the real Captain America #1 cover during the film’s amusing showbiz digression. Fans of the Marvelverse put on film will love the references to Thor and the Iron Man hooks with the importance given to Tony Stark’s father. Add to that a few good supporting characters, a decent romance with chronological room to grow, a nifty coda and some fascinating special effects and Captain America isn’t just good enough to become a high point of Summer 2011 in Hollywood, but a superb lead-in to 2012’s The Avengers.

Tags: Chris Evans, Hugo Weaving, Joe Johnston, Stanley Tucci, Tommy Lee Jones
MovieReview | No Comments »

Metal Tornado (2011)

(On cable TV, July 2011) There’s no way around the fact that this made-for-TV-movie struggles in presenting a wide-scale unnatural disaster on a shoestring budget. It’s in the nature of the thing, and it’s a small wonder to see how many low-budget SF movies actually try to deliver on catastrophe. Naturally, some indulgence is helpful in watching this kind of movie: It’s better to squint a little and focus on what the filmmakers were attempting to do rather than focus on the unconvincing special effects and flat cinematography that follows low-budget filmmaking. In a generous mood, it’s tempting to suggest that Metal Tornado’s premise is more original than most and just convincing enough to suspend disbelief: As satellite power generation becomes possible, a flawed experiment creates the titular metal tornado that runs along underground iron ore and sucks up anything metallic in its path. The techno-babble isn’t completely dumb, Lou Diamond Phillips makes for a likable hero, there’s some cleverness in the usual plot template and the quantity of special effects almost make up for their quality. It builds, it plays, it ends –basically, it does what it was designed for. This being said, Metal Tornado doesn’t rise much above the usual made-for-TV-Sci-Fi-movie level: as one would expect from budgetary limitations, the dialogue is dull, the plot points are expected, the camerawork is plodding, and the re-use of actors/characters gets increasingly ridiculous rather than powerful. Mistakes abound, including non-magnetic metals being sucked into the tornado, but they’re not nearly as hilarious as the last act, which wipes out Paris but manages to triumphantly save… Pittsburgh. As an added treat, Canadians may have fun spotting the small tell-tale details that betray the film’s shooting location. I spotted the Canada Post mailboxes, but I was a bit surprised to find out, reading the credits, that the film was shot locally, in/near Ottawa. (“metal tornado Ottawa” is just a search away to tell you that it was shot in summer 2010, featuring local talent and in exotic locations such as Wakefield.) The local connection alone makes it a must-see in my case… but I can’t vouch for you the farther away you feel from Ottawa.

Tags: Lou Diamond Philips
MovieReview | No Comments »

Search

Content

Recent Posts

L’autre blogue