Tag Archives: Johnny Depp

It’s No Tea Party

Alice Through the Looking Glass

by Hope Madden

One billion dollars. That’s global money, keep in mind, but still, who’d have thought Tim Burton’s utterly banal and forgettable 2010 acid trip Alice in Wonderland had made so very much money? Too much – and not just because the film had no genuine merit, but because that kind of sum necessitates a sequel, however wildly and wholly unnecessary – even unwanted – that kind of muchness must be.

And so, back to Underland we go, accompanying an adult(ish) Alice who returns from a stint as sea captain to find Victorian England just as restrictive as it had been when she was a child escaping into her imagination. And so, to her imagination she returns.

Director James Bobin (The Muppets) has the unenviable task of following Burton into the rabbit hole – not unenviable because he may suffer by comparison, but because his options are somewhat limited based on the film’s predecessor. Expect garishly overdone visuals that offset weekly drawn characters.

Familial tensions are at the heart of the tale, penned by Linda Woolverton and based on some of Lewis Carroll’s most dreamlike and incongruous storytelling. Too bad Woolverton and Disney insisted on hemming Carroll’s wild imagination inside such a tediously structured framework.

The Hatter is depressed to the point of death and Alice has to go back in time to save him. Basically. But you can’t change the past – a lesson she’d allegedly learned in her first fantastic voyage, but I guess it didn’t stick. So, let’s learn it again, with the help of Time himself, as played by Sacha Baron Cohen with a Schwarzenegger-esque accent.

Aside from that new face, the same forgettably wacky group returns to the future/past. The talented Mia Wasikowska struggles to find life inside the bland Alice while Helena Bonham Carter pointlessly chews scenery.

An underused Anne Hathaway brightens certain scenes, and Johnny Depp – reliable as ever inside a fright wig and exaggerated make up – does bring a wistful humanity to the otherworldly events.

But imagination and tiresome capitalism butt heads from the opening sequence, and without the foundation of compelling characters or the requirement of engaging storytelling, Through the Looking Glass proves to be a pointless, though colorful, bore.

Verdict-1-5-Stars

Fright Club: Best Horror Musicals

We’re on a music kick. Last week we looked at the best rock star horror movies, so it seemed only natural to move on to the best horror musicals this week. At our house, this particular sub-genre might serves as a kind of bridge between the two of us, since Hope generally hates musicals while George appreciates them. And though it is true that Hope can find some love in her heart for a musical with a side of bloodletting, it turns out that George only likes actually good musicals. Which is to say, they disagree a bit on this list.

Hear the full disagreement, er, podcast HERE.

5. Phantom of the Paradise (1974)

Dude, 1974 must have been nuts. Brian De Palma’s first and only musical is a Phantom of the Opera/Faust/The Picture of Dorian Gray mash up (with some Frankenstein, The Cabinet of Dr. Caligari, and more than a little Rocky Horror thrown in for good measure). That’s a heady mix, and while the film was nominated for an Oscar for its music, it isn’t exactly the classic you might expect.

A campy skewering of the soulless music industry, Phantom sees tiny Seventies staple Paul Williams as the Satan-esque Swan, a music executive with a contract for you to sign. Poor Winslow (William Finley) is just as wide-eyed about his music as all those would-be starlets are about their chances for fame and fortune in this evil world of pop super stardom.

Like many horror musicals, the film works best as a comedy, but Finley’s garish visage once he makes his transformation from idealistic musician to mutilated Phantom is pretty horrifically effective. The film as a whole is a hot Seventies mess, but that’s kind of the joy of it, really.

4. House (Hausu) (1977)

If Takashi Miike’s Happiness of the Katakuris were to marry Pee-wee’s Playhouse, this would be their offspring.

A spoof of sorts, Hausu tells the story of six uniform-clad high school girls named Gorgeous, Fantasy, Sweet, Melody, Kung Fu, and Mac. The nomenclature alone should clue you in on the film’s lunacy. The giggling sextet spend spring break at an aunt’s spooky house – or, in fact, a cheaply made set of an aunt’s spooky house. Not a single thing that follows makes sense, nor is it really meant to.

Expect puppets, random musical sequences, remarkably bad backdrops, slapstick humor, and an amazingly sunny disposition given the sheer volume of human dismemberment. The trippy nonsense wears a bit thin eventually. Luckily director Nobuhiko Obayashi’s film clocks in at under 90 minutes, so the screen goes dark before the novelty wears off.

3. Sweeney Todd: The Demon Barber of Fleet Street (2007)

Here’s a bizarre idea for a musical: The barber upstairs kills his clients and the baker downstairs uses the bodies in her meat pies. Odd for a Broadway musical, yes, but for a Tim Burton film? That sounds a little more natural.

Burton’s Sweeney Todd: The Demon Barber of Fleet Street is a full-on musical – Burton’s first – and every inch a stage play reproduction. For many films, this would be a criticism, but Burton’s knack for dark artificiality serves the project beautifully, and he achieves the perfect Dickensian Goth tone. His production is very stagy and theatrical, but never veers from his distinct, ghoulish visual flair.

As in most of Burton’s best efforts, Sweeney Todd stars Johnny Depp in the title role. Depp is unmistakably fantastic – consumed, morose, twisted with vengeance – and he’s in fine voice, to boot.

The supporting cast boasts a liltingly nefarious performance by Alan Rickman. As the judge whose sent an innocent Todd off in shackles, raped his wife, then took custody of his daughter, whom he leeringly admires, Rickman is wonderful as always. His duet with Depp on “Pretty Women” is the film’s real musical gem.

With Burton’s help, Depp found another dark, bizarre anti-hero to showcase his considerable talent. With Depp’s help, Burton gorgeously, grotesquely realized another macabre fantasy.

2. The Happiness of the Katakuris (2001)

Takashi Miike is an extremely prolific director. He makes a lot of musical films, a lot of kids’ movies, a lot of horror movies, and then this – a mashup of all of those things. Like Sound of Music with a tremendous body count.

The Katakuris just want to run a rustic mountain inn. They’re not murderers. They’re lovely – well, they’re losers, but they’re not bad people. Buying this piece of property did nothing to correct their luck, either because, my God, their guests do die.

You might call this a dark comedy if it weren’t so very brightly lit. It’s absurd, farcical, gruesome but sweet. There’s a lot of singing, some animation, a volcano, a bit of mystery, more singing, one death by sumo smothering, and love. It sounds weird, truly, but when it comes to weird, Miike is just getting started.

https://www.youtube.com/watch?v=XDfMXwRapNc

1. The Rocky Horror Picture Show (1975)

Surely you expected no other atop this list because, honestly, nothing else comes close. The most iconic of all horror musicals, The Rocky Horror Picture Show boasts the best soundtrack, the best performances, the best mad scientist, and quite possibly the most fun there is to be had (legally) at the movies.

I’m afraid you’ve touched on a rather tender subject there.

Tim Curry is utter perfection as Frank-N-Furter (A Scientist). The entire balance of the cast is also amazing, but no matter how many times you watch Curry step out of that elevator, abuse his servants, or seduce his houseguests, it never gets old.

Creator Richard O’Brien’s raucous, once controversial film about a sweet transvestite, a slut, an asshole, and a couple of domestics who sing, time warp, throw rice, animate monsters, swap partners, and finally put on a show is still as much fun as it ever was.

Once a subversive take on the classic musicals and sci-fi films of the 30s and 40s, Rocky Horror is now a high-camp icon of its own.

Fright Club: Before They Were Stars

We spend a lot of time examining skeletons in the closets of major celebrities – the god-awful horror movies where they got their start. But today, we celebrate that handful of aspiring actors who get their start in really decent horror movies – some you’ve probably seen, some you may not have. Before these guys were stars, they lucked into a good one, so check them out!

5. My Little Eye (2002)

This quasi-found footage style gem is hardly flawless, but it creeps around dark ideas and delivers some nasty moments. Five youngsters volunteer to live Real World-style for a year, being filmed for an online channel contest. If they all stay for the full year, they win a million dollars. If anyone leaves, they all lose the cash.

Co-written by James Watkins, who appears again on this countdown, the story remains claustrophobic until the introduction of one handsome, lost hiker (Bradley Cooper) who’s not what he seems.

This is just Cooper’s second feature, releasing shortly after Wet Hot American Summer, and his onscreen presence breathes life to an intentionally drab atmosphere. His character is a catalyst for horrors aplenty, but his performance offers a glimpse of good things to come.

4. A Nightmare on Elm St. (1984)

Johnny Depp made his film debut in Wes Craven’s groundbreaking nightmare. Craven said in interviews that he almost didn’t cast the future heartthrob, thinking he was too pasty and weird for the role, but his daughter’s swooning convinced him.

Depp plays Glen, boyfriend to bossy Nancy (Heather Langenkamp), epicenter of Freddy Krueger’s revenge from beyond. Though his performance doesn’t necessarily predict an Oscar-nominated future, he delivers his lines more thoughtfully than most of the cast. Plus, what a death scene!

3. A Perfect Getaway (2009)

This is another underseen flick, boasting some solid performances that make the most of decent, twisty writing in a identity reversal horror story. In his second feature, Chris Hemsworth is half of one of the three couples traveling through Hawaii that get mixed up in a mystery surrounding serial killers. The ever-versatile Steve Zahn plays beautifully against type, while Timothy Olyphant offers another hard-edged but fun performance.

For the film to work, you need to always be guessing as to who may or may not be the killer. Hemsworth’s performance is one you revisit, is-he-or-isn’t-he style. He’s menacing from his first appearance, but shows some of the versatility that would help him climb quickly out of supporting roles.

2. Eden Lake (2008)

Again with James Watkins! He writes and directs this brutal and brilliant culture clash, but his real talent may be in casting. Michael Fassbender proves here what everyone knows by now – he is a brilliant, limitless actor. His Steve takes girlfriend Jenny (Kelly Reilly – also excellent) to an old quarry about to be revitalized as an upscale community – to the distaste of the low scale community currently roaming its beaches.

Fassbender plumbs his character’s depths. By turns smug and cowardly, superior and kind hearted, Steve is a real human being – the kind rarely seen in a horror film. And while Reilly’s strength is another uniqueness that makes the film stand out, the introduction to Jack O’Connell’s evicerating talent as alpha thug is no doubt what makes Eden Lake so painfully memorable.

1. American psycho (2000)

The star-studdedness just keeps growing! Jared Leto, Josh Lucas, Chloe Sevigny, Justin Theroux, Reese Witherspoon! But, of course, the main reason to remember the film is the lunatic genius of Christian Bale as Patrick Bateman, soulless Wall Street psychopath.

He’s helped, of course, by director Mary Harron’s faultless direction – effortlessly balancing the blackest of comedy with inspired bloodletting. So many scenes are iconic by this point, all of them involving Bale as the beautiful shell of a human being, filled mostly with vacuous musical taste and a lust for blood.

Listen to the whole conversation over on FRIGHT CLUB!

A Bloody Communion

Black Mass

by Hope Madden

Johnny Depp is a remarkable talent whose film choices can be frustrating. Who’s to complain, just because he often buries his unique take on human foibles underneath quirky caricatures in wigs and eyeliner or a handlebar moustache?

I am – but not today. In Scott Cooper’s Black Mass, Depp may undergo a physical transformation, but it’s his skill and authenticity that leave an impression.

In this biopic, Depp plays Southie mob king James “Whitey” Bulger, a “ripened psychopath” who strikes a sweet deal with neighborhood pal turned FBI agent John Connolly (Joel Edgerton).

Front to back, Black Mass spills over with reminders of other films – in particular, The Departed and, thanks in part to the outstanding soundtrack, American Hustle. How could it avoid comparisons? How many new ways are there to tell a story about dodgy criminal/FBI alliances or the Irish mob in Boston?

Wisely, Cooper’s focus is on the complex relationship between Bulger and Connolly. Edgerton handles his character arc, from misguided idealist to blindly loyal accomplice, with subtlety, but this is Depp’s movie.

Depp’s nuanced evolution from friendly neighborhood sociopath to cruel monster leaves chills. He can turn on a dime, as he does in the now required Joe Pesci-esque episode. (Just substitute “funny how?” with “family recipe.”) But the more powerful scenes are the ones that sneak up on you – a situation with a colleague’s step daughter, or Bulger’s moments alone with Connolly’s wife.

The balance of the cast manages to keep pace with Depp’s forbidding performance – Rory Cochrane, Corey Stoll, Dakota Johnson, Juno Temple, and Peter Sarsgaard are all particularly impressive in small roles.

For all the truly fine performances, Cooper’s somber effort can’t seem to define itself. There are flashes – frames resembling a cross between a crime scene photo and an old picture postcard; or individual, eerily crafted moments – but the effort on the whole limits itself to by-the-numbers storytelling.

Depp, on the other hand, sporting vampiric blue contacts that emphasize Bulger’s eviscerating contempt and barely restrained violence, excels. Black Mass may not be quite able to separate itself from the pack, but Depp’s performance will leave a mark.

Verdict-3-5-Stars

Magoo Meets Clouseau

Mortdecai

by George Wolf

It’s high time we stopped clutching our pearls and wondering “what happened to Johnny Depp?” The man likes just likes playing eccentric characters, so Mortdecai fits the bill.

Eccentric? Surely.

Droll? Quite right.

Funny? Um, no.

Based on the novel “Don’t Point That Thing at Me,” the film finds Depp as Charlie Mortdecai, English art dealer and all-around bumbling scoundrel. He’s part Magoo, part Bean, and once a famous painting goes missing, a heavy dose of Clouseau.

He and and Mrs. M (Gwyneth Paltrow) are living large but deep in debt, when the British secret service offers a possible way out. Someone in America has been secretly deflating footballs right before the big game, and…oh, wait that’s something else.

Mortdecai must track down a priceless masterpiece before it winds up in the wrong hands, and the convoluted plot involves jet-setting, mustache infatuation and multiple instances of “sympathetic gag reflex.” Director David Koepp tries hard to inject some pizzaz, but Eric Aronson’s script feels more like a rough draft than a finished product.

The film’s saving grace (well, besides the casting of Olivia Munn as a nymphomaniac) is, of course, Depp. He’s a perfect example of great timing in search of some comedy, and he delivers a fully realized performance that manages, against some pretty long odds, to give Mortdecai its few moments of charm.

 

Verdict-2-0-Stars

 

 

The Meryl Witch Project

Into the Woods

by George Wolf

 

Don’t let the name Disney at the top of the poster fool you, Into the Woods isn’t little kid stuff. But it is more evidence that Rob Marshall is the guy who should be directing your next musical.

After nearly thirty years, the Tony-award winner from Stephen Sondheim (music) and James Lapine (book/screenplay) makes it to the big screen. It’s more lean, less mean, and still pretty spectacular.

Having Meryl Streep at the top of your cast list is always a wise move, and she’s utterly commanding as a Witch who offers the village Baker (James Corden) and his wife (Emily Blunt) a mysterious deal. In exchange for a few magical items (red cape, white cow, yellow hair and golden slipper), the Witch will reverse a curse that is keeping the couple childless.

As the Bakers head into the woods to begin their search, four classic fairy tales begin an enchanting intersection.

With the benefit of a live stage, Cinderella, Rapunzel, Red Riding Hood, Jack and his beanstalk could take turns in the spotlight while still keeping a combined narrative intact. A screen version presents an inherent challenge to recreate that vision, but Marshall doesn’t shrink from it.

His camera is almost always moving, with wide aerial shots showcasing everyone’s place in the woods, and slow pans that glide easily from one fairy tale to the next. While Marshall’s Nine was more a series of dazzling parts, here he’s able to sustain the realization that each storyline in the woods is connected.

Marshall is also smart enough to know the material and adjust. The high-stepping pizazz he utilized so well in the Oscar-winning Chicago was a perfect fit for that show, but this is Sondheim. The songs are graceful, poetic, challenging, and Marshall, with a big assist from Dion Beebe’s pristine cinematography, frames them accordingly.

The fine ensemble cast follows suit with sharp characterizations. Blunt is excellent (when isn’t she?) as the desperate wife, Corden makes a fine unlikely hero and Anna Kendrick’s Cinderella is..apologies in advance…pitch perfect. Chris Pine makes Prince Charming a delightfully amusing cad while Johnny Depp, as Johnny Depp does, leaves a memorable impression with limited screen time as the Big Bad Wolf.

Though several songs have been pruned from the stage musical, along with some of the darker edges, Marshall keeps the metaphor of “the Woods as real life” intact without overplaying the hand. Into the Woods explores what’s on the other side of fairy tales, where handsome Princes “will always love the maiden who ran away.”

The wee ones may not find any bland theme songs to call their own, but this is family entertainment on a grand, sometimes glorious scale.

 

Verdict-4-0-Stars

 

 

Counting Down Holiday Must-Sees

Both Whiplash and Rosewater open this weekend at the Drexel and Gateway Film Center respectively. Both are must-see independent films with Oscar buzz aplenty, but they also signal the end of the fall films. Next weekend, things move toward holiday hoopla, and the awards-baiting indies flow alongside giant blockbuster contenders – indeed, the two sometimes even intersect. What are the holiday films to look out for?

The Hunger Games: Mockingjay – Part 1 (11/21)

Not every adolescent novel series turns into quite this strong a film franchise. Much credit goes to the boundless talent of Jennifer Lawrence, whose surly heroine goes beyond games and into real revolution in the third of four installments.

Horrible Bosses 2 (11/26)

Will it garner Oscar nominations? No. But early word on the sequel to the surprisingly hilarious Horrible Bosses looks to have upped its game, and I want to play.

The Theory of Everything (11/28)

Get to know Eddie Redmayne. This guy can do no wrong, and he may finally get the notice he deserves in this film. Redmayne plays young Stephen Hawking in the magnificent James Marsh’s dramatization of Hawking’s relationship with his first wife, Jane (Felicity Jones).

The Imitation Game (12/5)

Benedict Cumberbatch is impressing early audiences in his turn as Alan Turing, an Englishman who helped break the Enigma code during WWII. Director Morten Tyldum’s last film Headhunters was too enthralling to miss his follow up.

Wild (12/19)

Reese Witherspoon is already the frontrunner in a an Oscar race not yet underway, but her turn as a woman who walks 1100 miles alone to get her head straight is impressing early audiences that much.

Unbroken (12/25)

Angelina Jolie goes behind the camera again, this time to direct the biopic of Olympian and POW Louis Zamperini. Actor-to-watch Jack O’Connell stars, but what’s more impressive is that Joel and Ethan Coen adapted Laura Hillenbrand’s nonfiction text.

The Interview, (12/25)

This Is the End proved that Seth Rogan and Evan Goldberg were solid comedic filmmakers. The two return to their spot behind the camera and pen, with Rogan and BFF James Franco starring as two shoddy journalists who head to North Korea to interview/assassinate Kim Jong-un. No taboo shattering there! It should prove to be uncomfortable, but smart money says it’ll be funny as hell.

Big Eyes (12/25)

Perennial Oscar contenders Amy Adams and Christoph Waltz star in Tim Burton’s biopic of artist Margaret Keane. Early predictors put Adams in the running for best actress, but if this is the film that returns Burton to solid directorial ground, it’s a victory already.

Into the Woods (12/25)

Rob Marshall brings the Sondheim musical to the screen, spinning a yarn that knots Brothers Grimm tales together and sees Meryl Streep, Johnny Depp, Emily Blunt, Anna Kendrick and Chris Pine playing recognizable fairy tale characters. Early word is that the cinematic version boasts inspired performances, particularly from Depp and Streep as The Wolf and The Witch, respectively. We’re in.

Come January we can expect a couple late-running heavy hitters including Paul Thomas Anderson’s Inherent Vice and Clint Eastwood’s American Sniper before the winter blahs hit theaters. Foxcatcher’s been a moving target, but it looks like local audiences will finally get a chance to see that by mid-January. But you know what? As far as we know, the Browns may still be in contention in January, so we may still have something to watch!

Wait, did we just jinx us?

The Kevin Smith Movie, Evolved

Tusk

by Hope Madden

In 2010, I had the chance to interview writer/director Kevin Smith. The proposed subject was Smith’s SModcasts – comic podcasts co-hosted by Smith and his buddy Scott Mosier – but I had other ideas. I knew Smith, a filmmaker most known for his juvenile comedies, was putting the finishing touches on his first horror film, Red State, and I was giddy to find out more about that.

Smith told me, “For years I’ve called myself a filmmaker, but it’s not really true. Really I just make Kevin Smith Movies. I’m at that stage where I could make a Kevin Smith Movie with my eyes closed. Let me see if I can make another movie.”

Too few people saw Red State, a flawed but fascinating film that boasted an absolutely mesmerizing performance by Tarantino favorite Michael Parks, but Smith knew he had something great in this actor. Wisely, when the filmmaker returned to horror with this year’s Tusk, he did so with Parks in tow.

Though Tusk is a surreal, utterly bizarre horror comedy, it is without question Smith’s most personal work as a filmmaker. The film follows a podcaster (Justin Long) who travels to an isolated cabin in Canada to record conversations with a recluse (Parks). The podcaster hopes to bring a good story of a weirdo back for the next show, but this story proves a little too weird.

The basic idea, in fact, comes from one of Smith’s actual SModcasts. He found online a letter from a man seeking a lodger, and he and Mosier read it aloud and mocked the man and giggled – the general MO for the show. But somewhere in all that, Smith found the story of man losing his humanity.

Yes, Tusk is a comic riff on The Human Centipede. It’s also an insightful kind of stress dream, so close to home for Smith that, even with all its utter ludicrousness, it feels almost confessional.

Once again, the greatest strength in the film is a hypnotic performance by Parks as the old seafarer with nefarious motives. He’s magnificent, and Long’s work is strongest when the two share the screen.

Smith’s tone shifts wildly from absurd comedy to real terror, but given the film’s insane premise, the approach works because nothing is ever what you expect. Like Johnny Depp as a French Canadian Inspector Clouseau.

There is no film quite like Tusk, certainly not in Smith’s arsenal, which, I suppose, means this is not a Kevin Smith Movie. And yet, there’s more Smith in this film than in anything else he’s made.

Verdict-3-5-Stars

The Original Gonzo Artist

 

For No Good Reason

by George Wolf

 

Hunter S. Thompson advised Ralph Steadman not to be a writer, warning him it would only “bring shame on your family.”

Though Steadman wrote anyway, he gained fame through his frequent artistic collaborations with Thompson, providing the unique and provocative illustrations that meshed perfectly with Thompson’s unique and provocative writing.

Steadman gets his due in For No Good Reason, a satisfying documentary of a renowned artist still grappling with his own legacy.

Director Charlie Paul, in his first feature, employs an arresting visual style to complement the tale of how a man and his art evolved. Narrator/host Johnny Depp takes us into Steadman’s studio, where we see the process of crafting artwork which, Steadman says, can turn into “something quite savage…you would see the work, and think about it.”

Though there’s also some great archival footage of Steadman and Thompson in their glory days, the film sometimes has trouble remembering who the subject of the documentary really is (Depp’s frequent presence doesn’t help).  When the focus stays on Steadman, he’s revealed to be a fascinating visionary in his own right, someone who Rolling Stone founder Jann Wenner describes as “much more courageous” than Thompson himself.

Courageous enough even to ignore his friend’s advice and write, including a gardening column and a book on Da Vinci written in the first person.

Best of all, this is a film that serves as a wonderful showcase for the art itself, and that’s more than enough reason for For No Good Reason.

 

Verdict-3-5-Stars

 

 

 

Handsome Artificial Intelligence, Dumb Movie

Transcendence

by Hope Madden

Johnny Depp fans could use a little good news. The genuine talent hasn’t made a film worth watching since 2011’s Rango, and that was a cartoon – and his only half-decent movie since 2007’s Sweeney Todd.

Unfortunately, Transcendence isn’t going to help matters.

Depp plays Dr. Will Caster, a very happily married scientist doing research that will make unfathomable breakthroughs in artificial intelligence. And oh what a muddled mess it turns out to be. The movie, I mean. The A.I. turns out to also be Johnny Depp, which beats the hell out of Arnold Schwarzenegger any day.

Making his debut as a feature director is Wally Pfister – Christopher Nolan’s go-to cinematographer. Predictably, the film has an evocative look. Unfortunately, he did not pick up his colleague’s grasp of the intricacies of a heady fantasy.

Jack Paglen’s screenplay offers a cautionary tale about our blind acceptance of the invasion of technology. Unless it’s warning us about pollution. Our personal isolation? Lack of privacy? All of the above, often while undermining its own other arguments? Bingo.

Basically, Paglen bites off more than he or his cast can chew. The film offers sparks of relevance, but it can’t decide what direction to go. It layers its fantastical warnings around a love story, and at least for that it relies on the natural talent of its leads, Depp, Rebecca Hall, and Paul Bettany as their colleague and friend.

Their work draws whatever attention the film manages to pique. Unfortunately, it’s not enough, particularly since their tale is saddled with a dopey ending that defies even the film’s own nonsensical internal logic.

But at least it’s not Lone Ranger.

 

Verdict-2-5-Stars