Archives for February 2009 | Varied Celluloid

Archive for February, 2009

Ichi the Killer

Posted by Josh Samford On February - 22 - 2009
Plot Outline: Ichi is a young man like many his age. He has a job, feels lonely and is being controlled by an older man who convinces him to murder his enemies. Well, maybe he’s not like ‘everybody’ but I think we can all relate. After Ichi kills the boss of the Anjo crime syndicate and Jiji (the aforementioned old man) cleans up the mess, Kakihara (Boss Anjo’s right hand man, played with gusto by Tadanobu Asano) is set out on a quest to find out just what happened to his boss. Being a S&M freak helps with all of the sadism he plans to inflict on anyone who might know just a tiny bit about what happened to his boss. Kakihara begins obsessing with Ichi as he finds out more about him and secretly hopes he will inflict death upon him as one last masochistic fantasy. Ichi on the other hand is going through a crisis, dumbfounded as to why he is aroused by the thought of raping women and inflicting pain while also tormented by a memory of a girl raped while trying to help him from being bullied.



  

The Review: Ichi the Killer is yet another in the long line of films that I’ve been meaning to review for the longest, but have usually lost the courage to review out of fear of disappointment. Well, disappointment and the fact that most of the films that really struck a nerve in me have been reviewed countless times on countless websites out there. By the time it comes to me getting my thoughts down on paper I begin to question the point, seeing that there will no doubt be much better reviews written detailing the exact same feelings, but I guess you have to reach a point where you just say screw it. The review may turn out crappy but at least I’ll have marked my territory. That’s what I’m doing with this Ichi review, marking my territory. I love Ichi the Killer, no film in the past five to ten years has made such an impact on the way I look at cinema I don’t believe. Ichi has actually grown into part of who I am. Strange to say about any film I’m sure, much less one so controversial. Since the film is as controversial as it is, I guess it’s only fair that I tackle that subject head on. I feel as if I’m at a disadvantage to judge the film for all audiences since my tolerance for extreme violence is probably going to be a little higher than some who might read this. I’m not tooting my own horn or anything like that, if you want to see me flee the room throw on some real life crap like Banned From Television or something, I can’t handle the real stuff, but when it comes to movie violence I’ve built up quite a high threshold. For instance, I heard a lot of hype coming out about the French film Irreversible, like people walking out of theaters shocked and vomiting but when I actually watched the film I was frustrated and angered at the fact that I had wasted my time waiting for the violence to kick in. I still despise that film to this day for disappointing me so much, and yes I even hold a grudge against Halloween III for not having Michael Myers. The point is, I can’t accurately judge what is going to disturb most audiences and I don’t want the wrong people walking in thinking it’s a cornucopia of gore and madness when it assuredly isn’t. There’s a lot of torture in the film and there are definitely moments that even made me feel quite a bit uncomfortable, but nothing that ever made me turn my head or wince. Not like in Miike’s Audition where I was just thrown back in my chair being visually assaulted. One viable complaint I could imagine would be some of the rape scenes and beatings given to women, so if that’s a sensitive area you might want to watch with someone else or just be leary of the film. The gore in the film is fairly plentiful, but nothing on the level of Dead-Alive (Braindead) or something like that. A decent amount of the on screen mayhem is actually cgi, and a number of it is done in a humorous way. The darkest of dark humor maybe, but some things I couldn’t help but smile at. Of course this is all just the way I feel about the violence, for some it might be too much, but for those who have sat through quite a few exploitation flicks in there time don’t be afraid that you can’t handle something like this. You might just walk away disappointed.

I don’t mean to pay so much attention to the violence because that’s not the only reason to watch the film, but I thought I may as well get that stuff out of the way. For those who haven’t seen the film, they might walk away shocked to find that Ichi is a lot deeper than some like to give it credit for. I don’t pretend to understand all of the underlying subtext in Ichi, just as I don’t pretend to understand all of David Lynch’s work, but I recognize the thought and work put into it. Something I bet a lot would dismiss, even Miike tries to shrug off any pretensions when it comes to his work, but at the heart of Ichi there’s a battle raging. A battle of control, which is what the film is really all about. Sado Masochism is only a shell for what the film is really about, which is the controlling of other people. Who has the power? Who controls who? It’s what makes the film revolve. The character of Jiji is the example, he controls everyone and everything, but how far does his control go and how long will it last? I don’t want to get all pretentious and snobby as I know I sound, but these are the questions that burn in my head whenever I sit down to watch Takashi Miike’s masterpiece. While preparing to review the film I watched it for my fifth or so time, and with each viewing I seem to get closer and closer to the truth. At the moment, I think I understand the ending of the film in it’s most basic forms but it’s still just a bit above my head. I can’t go into deatail about it all because I would break my own oath of no spoilers, but for those watching it, all I can say is to watch it frame by frame and pay attention to the small details. Then again I question giving any advice out, because do I even know how close I am to the truth of the film? I can’t really say, but I do know that each time I watch it I learn more and maybe some day the repeat viewings will pay off completely. It’s part of why I have such a great passion for the film. It takes many of the aspects I love of surrealist cinema and churns out something freakish, profound and generously entertaining. The film bounces around in so many different ways, and we’re just talking about the plot alone, which is surprisingly complex. Symbolism is abound and the plot hangs around dozens of miniscule little sequences throughout the film, things people say on the telephone might explain the actions of another character in the next scene. Good subtitles are a must needless to say. This last viewing of the film I just payed most of my attention to Jiji, reading his dialogue and studying his character to learn more about what is happening. It really does take paying some close attention to catch many of his actions, because he truly does make the world in which the characters live, go around. His character is the centerpiece of everything and this isn’t even a secret of the film. No spoilers, it’s clear from the beginning of the film. His character is the master and everyone is the puppet, but what is interesting is seeing Ichi not wanting to work as the pawn in his game. As Kahkihara says later in the film “You are chaos”. Ichi is the sadist at heart who doesn’t feel comfortable with his own actions, a killer who doesn’t enjoy killing. Kahkihara is both the most interesting character in the film and the character who has the most simple of motivations; he is the ultra masochist. He wants pain and that is all. He admires Ichi for being the greatest sadist, but Ichi only kills because of his sense of revenge. Everything revolves in a circle, and to those who dismiss the film as nothing but gore with no brain, I would ask you to watch again and pay closer attention to character and detail.

I find it hard to speak of Ichi the Killer without bringing up the insane amount of visual and directorial style on display. Takashi Miike is like a kid in a candy store. He delivers all the visual style one might expect, but takes the viewer into overdose mode. One of my favorite shots in the film that will always remain in my mind is where the camera flies through about three city blocks, I would imagine in the front end of a car with the fram rate on fast forward, until it stops and goes into closeup of a character’s mouth. After this the scene goes into one long take where Karen (Paulyn Sun) takes Kahkihara on a trip to a local heroin dealer. They travel up a flight of stairs and break into the woman’s apartment. This whole sequence burns vividly in my mind as something of a masterwork, it could be the crazy handheld work or it could be the amazing rock soundtrack blaring over most of Paulyn Sun’s English dialogue, but without doing much of anything this segment of the film is one of the brightest moments of the film. There are about one hundred other brilliant visuals and set pieces throughout the film to blow your mind as well. Pretty much anything even associated with the character Kahkihara is bound to knock your boots off, especially his little desk area made of nothing but red lighting, even though the rest of the room isn’t lit with anything remotely red. Like an island inferno somewhere in a Yakuza office. It doesn’t get a lot of air time but it’s just one of the things that makes you go ‘huh’ while watching things transpire. Miike always keeps his camera roaming throughout the film and never lets his audience catch a breath of air. Unlike his Dead or Alive series, there are no Kitano-esque moments of reflection. The film carries you from one scene to the next and you had best be prepared for it. A roller coaster of emotions. You can go from laughing as in the scene where Kahkihara forces one of his gangster lackeys (who wanted to leave the group because of fear of a gang war) to walk with a board nailed through his shoe. Or you can be made to feel uncomfortable as shown in the highly talked about scene where Kahkihara tortures a man by hooking his skin to chains from the roof and then pouring scalding oil over his back. The comedy doesn’t break the more harsh moments as much as you might see in an American film or even in some Japanese films really, you get the idea that Miike wanted the film to be intense but always fun. Whether this is your type of fun is a personal opinion, I still feel I get most of what he wanted to present. Of course I couldn’t review the film without going over the acting at least a little bit. Tadanobu Asano has been a favorite actor of mine ever since I was fortunate to watch Electric Dragon 80,000 V., but Ichi the Killer and the character of Kahkihara (whom I have mentioned about a dozen times in this review) really cemented himself as one of my favorite actors ever. Perhaps my favorite actor out there as of this moment. I’ve only seen four or so of his films, but everytime I catch one of his movies he puts out this persona of the coolest person ever to exist. He’s got the swagger of James Dean and the talent to boot. He doesn’t show a ton of emotion, I’ll admit that readily, but his screen prescence rivals Chow Yun-Fat or Bruce Campbell. In Ichi, he’s absolutely dynamic. A laid back performance but also a driven and lively one. He is as giddy as a child in one scene and then taking extreme delight in torturing someone in the next. He deserves mainstream notariety with the film, but being a cult phenomena would be just as well. Asano isn’t the only one on top of his game though, pretty much everyone involved gives their all. Nao Omori is an unknown to me (I think he stars in the live adaption of Perfect Blue), but I absolutely love him in the film as Ichi, the homocidal crybaby. There’s a beautiful character ark behind Ichi and Nao Omori brings it out ten fold. He could have just made the character a generic soft spoken wimp and let the fact that he’s the greatest killer who ever lived work as a gimmick, but as an actor he does so much more. He makes me realize when watching the film that this isn’t just some cartoonish gore film, this is a tragedy. The character of Ichi should evoke sympathy from the audience already, but just the teary eyes that Nao Omori aims towards the camera reads his whole life story. I don’t mean to overhype the performances and I’m confident others will assume everyone is over the top and show no attachment to real life, but I’m just going by the emotions the film wrenches from me. It’s for all of these reasons above that I can’t help but love the film with all I have.

What can I say that hasn’t been made abundantly clear already? I’m obsessed with the film, I love the director and I can never watch the film enough. Are there negative aspects of the film? I’m sure there are, but maybe I’m just not clear headed with the film and carry an obvious bias (but how can it be bias when it’s still simply an opinion?) but I can’t make myself sit around picking apart the negative pieces of the film. I would be hard pressed to find a scene in the film I felt should be cut, and I find it seriously doubtful I could find one I truly disliked. Is that wrong of me? I don’t know, you make the call, but if you haven’t seen the film and you’re at least a little interested, see it now. Find an unedited copy and order it. If you can’t handle the extreme violence, at least you’ll have something to bring up at dinner parties to brag that you seen some weird friggin’ Japanese flick that was mind bendingly bizarre, and if you on the other hand find it too tame and undeserving of it’s reputation, well I warned you. All I can say is ‘see this film’, and what you take from it could be polar opposite of myself. Just please never insult the character Kahkihara, easily the greatest villian of all time, and to deny that is to deny me… which you should never do!



Iceman Cometh, The

Posted by Josh Samford On February - 22 - 2009
Plot Outline: Fong Sau-Ching (Yuen Biao) is a royal guard during the Ming dynasty who is given the mission of hunting down a former ally (Fung San, played by Yuen Wah) who has turned to rape and murder. It’s Yuen’s last chance to redeem himself in the eyes of his superiors and it doesn’t take long to track Fung down. Once the two meet they are thrown through time by a Magic Time Wheel where they are knocked from a cliff and frozen in ice. Their bodies are discovered by some scientists in 1989 and are uncovered and eventually thawed out by accident. The two are set free in Hong Kong with neither knowing of the other’s existence. Fung heads back to his life of crime while Fong wanders the streets where he is taken in by a sarcastic prostitute named Polla (Maggie Cheung). The two hit it off, but Polla, seeing how naive Fong is about society decides to make him her man-servant. It doesn’t take time for Fong and Fung to find out that each other is alive, and it doesn’t take long for Fong to discover that Polla is using him. Thus the circle continues.


  

The Review
Iceman Cometh is what you would get if you took Encino Man and made it into a Martial Arts film. Actually, no you probably wouldn’t, I find it hard to believe that Pauley Shore could ever be half as attractive as Maggie Cheung. The image I just placed in my mind by typing that out is really creeping me out now, so I’ll move on. Yuen Biao is someone I’ve never had the pleasure of watching much. He’s very well known for his teaming up with Jackie Chan and Sammo Hung during the 80s, but I haven’t seen many of these films. Yeah, I know, and I call myself a Kung Fu fan. I seen Project A here a little while back, and although it didn’t blow me away as I had been lead to believe it would, it was still an excellent Chan picture. The only other of these teamups I think I’ve seen is Wheels on Meals and Dragons Forever. It’s been years since I’ve seen either though, so my memory of them is pretty much nonexistent. After watching Iceman I can definitely see how Yune has that ‘star’ charisma about him and it makes me wonder why I haven’t seen more of his films. Although Maggie Cheung actually manages to steal the show with her outrageous character every time she is on the screen, Yuen is still the one we watch the film for. I didn’t really feel as if there were that many hand-to-hand combat scenes in the film, but the climatic battle at the end is surely enough to satisfy most rabid Kung Fu nuts. The fight scenes are great and I liked the story for the most part, but I just find it increasingly harder to comment on the film. I feel as if it left no impression on me whatsoever. And as many have said, the films that you feel indifferent on are the ones that are the hardest to write about.

If you’re expecting nonstop martial arts action in Iceman Cometh, you might want to check elsewhere. The fight scenes are actually pretty few and far between. A good portion of the fights are either too short or feature large swords and a great deal of wire work. If that’s the sort of thing you’re into then the flick might be just up your alley, but sadly I don’t care much for swordplay, especially not when the swords are huge like in The Highlander. The only two scenes I felt where Yuen got to demonstrate his talent was in the climax which I already spoke of and a fight that takes place about a hundred feet above a river on top of a car. The fighting isn’t the best as you can imagine, not much room to move, but the sheer coolness of what is going on is plenty enough. I felt fairly let down by the fight scenes I must say. Within the beginning I was expecting to see a lot of wirework in the vein of Once Upon A Time in China (which I really wasn’t in the mood for) but thankfully there was a lot more groundbased kung fu that I didn’t expect, but it just didn’t satisfy me. The majority of the film focuses primarily on story and Kung Fu, and although some of these scenes are entirely priceless, I sometimes forgot that I was actually watching a martial arts film. I know it sounds bad as if I hated the film and all, but I’m just trying to stress the point that it might be a bit of a disappointment for those looking for all out action. The film is really more of a comedy that features some martial arts. The comedy is all played with a straight face and Yuen was actually deadly serious throughout, never cracking a joke and always keeping in character. You have to show some respect for that. As I mentioned above though, Maggie Cheung is probably the most charismatic actor in the film, which really surprised me. I think I’m used to seeing her play the tag along girlfriend or in the more serious role. Here she really lets loose. Her character is just wild man, always smoking a cigarette and playing the tough guy while presenting herself in the most flamboyant ways possible. For me she was really the funniest and most entertaining part of the film. Well, that and the fantastic final battle.

The Conclusion
One thing that surprised me when watching the film was that there appeared to be a budget for the special effects. Whenever the time machine was activated whirring lights and electricity flies around the room and such. It’s not such a big thing these days, but I didn’t think this would be the type of film to get the special effects it had. The lights that dance around appear to be painted on at points but for the most part I couldn’t actually tell how exactly they did it. I suppose if Jackie Chan can attach helicopters to moving trains (see: Supercop) then Yuen Biao can have flying lights and electricity. So, can you tell I’ve run out of things to say? If you can’t, let’s just get things clear, I have very little else to say. The big question should be ‘do I recommend it?’. Well, I guess I do but only to the more seasoned Kung Fu/Comedy fans. I don’t exactly know why the film has such a huge following and I’m sure I’ve offended some by not giving it a five, but I just felt the film was far too mixed up to present it’s self in a fashion I could get into. Is it a fantasy film? Is it a comedy? Is there supposed to be Kung Fu? There are far too many factors getting in my way of really enjoying the film. I give it a three because believe it or not it really entertained me. Perhaps I expected too much of it, I don’t know. I’ll leave the final judgment to the viewer.

Humanoids From the Deep

Posted by Josh Samford On February - 22 - 2009
Review by Prof. Aglaophotis


Plot Outline: We start our little tale in the small Northern Californian fishing town of Noyo, where much trouble is a brewing. The salmon in the area have been becoming more minuscule by the day as the town’s festival draws nearer. However, a canning company known as Can co. (oh yes, THAT’S original) plans to change that, not only to help catch more fish, but to genetically improve the size and amount of salmon in the area. In the mean time, some odd problems arrive when fishermen start catching marine life that continues to break the wires, all of the dogs in the town get slaughtered and Hank Slatery (Vic Morrow) and his inebriated posse find more reasons to pick on the local Native American Johnny Eagle (Anthony Penya). All the while, beach hopping amorous couples get violently attacked by vicious sea creatures who hack up the men and rape their dates and everyday-man Jim Hill (Doug McClure), Johnny and marine biologist Dr. Susan Drake (Ann Turkel) start playing detective after Jim’s brother gets attacked by a pack of similar inhuman marine life. Oh, and didn’t I mention the local festival was coming?

  

The Review
Although a bit of a digression, I have encountered various unique plot twists and story ideas, one of the more popular being the further development and future of mankind, after such existence has gone so far in the line of advancing intelligence and simultaneous stupidity. Yet, I find this question to be irritatingly incessant, for it has been interpreted in one too many ways and the answers are almost always brought into a black or white category, with some good occasional imagination, but lack of originality. There is something wholly unique about Humanoids from the Deep, as it somehow brings a clever method of coming to the conclusion of that question without incessantly bringing it up through the movie. We are given scenes of social violence and local acts of racism that was made to recognize the socio-economic impacts of events in the town, as well as setting up protagonist/support roles and antagonistic categories, and keeping anyone from acting on the problem at hand, but the question regarding humankind’s future did not fully arise or show relevance until near the end of the movie as the origin of these creatures were being analyzed. It’s nothing to make too big of a deal out of, I’ll admit, but when you familiarize with different storylines, you’ll see a lot of repetition and failed good ideas. While this came close by means of diction (which I will emphasize on later), the message still delivered. Another level of importance is to show that even the antagonistic characters showed signs of heroism near the end as their eyes are opened to the relevance of the creatures, simply to remind the audience that despite their bad qualities, there’s hardly ever a black or white matter to every human being in this world (especially when they’re being attacked by murderous amphibious monsters).

The movie had a nice sized budget as it boasts with explosions here and there, shows skin being scraped off the bone and the minimal use of sets, but its limit shows in various little parts of the movie, as we see the same close up shots of humanoids getting shot with a 30.6 here and a 3.06 there, repeated continuity shots of Doug McClure firing a gun in a previous scene, as well as two ‘clever’ reverse slow motion shots and a crowd’s screams are obviously looped for more than five minutes of film (a flare gun to some gas on the deck blowing up an ENTIRE ship, or an ol’ Molotv Cocktail blowing up a one story house on direct impact being the latter). The spectacle of slimy half skeletal monsters slashing and raping shoves the movie into a different light which is beneficial for the sci-fi/horror movie genre, for it adds a new level of discouragement for audiences aside from just having bloodthirsty monsters and gory murders being the primary focus (which is why most people have found it distasteful and I was just surprised in that ‘Whoa!’ sense) and the monsters themselves were designed pretty well to look like what they evolved from. Though not particularly well acted or dictated for that matter (it’s sardonic that a marine biologist cannot even manage to pronounce the word coelacanth correctly), the characters were believable and the partial exposition amidst conversations worked in order to understand the characters a little better. Another semi-positive aspect of the film was its almost apparent lack of clichés, as mentioned earlier with the lack of 100% human antagonists, regardless of their negative aspects. There was an apparent minimum of over-used/noticeable sci-fi clichés until, surprisingly enough, the final scene in the movie where the threats of human existence increases, but in a far too predictable manner.

The Conclusion
From the banter I have produced it’s obvious that amidst its pros and cons, I still enjoyed it, but if the latter you find distasteful (brief monster rape scenes being the bulk), then I doubt this movie would be your forte. Otherwise, Humanoids from the Deep is definitely a sit-down with-a-sophomorically-fun-social-crowd-with-pop-and-popcorn-bowl-in-hand sort of movie. The movie manages to keep your eyes on the screen and keep you involved in the unfolding events regardless of the occasional flaws.



Howling, The

Posted by Josh Samford On February - 22 - 2009
Review by Scarface


Plot Outline: Following a traumatic encounter with serial killer Eddie Quist, T.V journalist Karen White is advised by her psychologist to take a break from her work and attend a private therapy center called “The Colony”. Karen is left with no choice but to follow the advice and together with her husband heads for the woods where the Colony therapy center is located. Things soon turn for the worse as her husband is brutally attacked by a mysterious creature one night. Karen begins to suspect that something is terribly wrong at the Colony, until she finally realizes the therapy center is actually owned by werewolves. With her husband turning into a werewolf himself, she is left with no choice but to confront the creatures in order to get out of there alive.


  

The Review
Together with vampires and zombies, werewolf movies have always been embraced with open arms by avid horror fans. The undisputed classic of this genre, praised by horror buffs all around the world is undoubtedly “An American Werewolf in London”. However, few can deny the fact that there was an equally brilliant, perhaps lesser known werewolf movie released the same year by the name of “The Howling”.

There are essentially two main reasons why you should watch this film. One of these are the werewolf transformations themselves. The ones in “American Werewolf” were great; but these, believe it or not, are even better. Thanks to perfect use of editing and extraordinary make-up effects (duly provided by Rob Bottin, whose other credits include “John Carpenter’s The Thing”); the transformations seem way ahead of their time. In an era continuously characterized by the extensive use of CGI in movies, “The Howling” is living proof that brilliant effects can still be obtained by old-school methods.

The film drags a little too much at the beginning; hence the 1 star reduction in the final rating. This could make you lose some interest on what’s going on, but the second part more than compensates for this. As soon as the scene in which Karen’s husband is bit by a werewolf comes along, the film doesn’t look back and takes the viewer on an unforgettable roller-coaster ride! Expect to see some surprisingly hot werewolf sex, a substantial amount of action, and even a little dose of black humor.

The Conclusion
The movie as a matter of fact pretty much plays like a mystery novel. The viewer isn’t completely sure what’s going on in the first part, as he is introduced to various eccentric characters and strange situations. The most memorable of these characters is a young woman named Marsha; who most probably is the hottest female werewolf ever to grace the big screen. As the story unfolds bit by bit; the viewer begins to realize the real danger main character Karen is forced to face; as she has to transform herself from an unlucky victim of fate to a fighting survivor (pretty much like Sarah Connor in “The Terminator”). I mentioned in the beginning of the review that there are essentially two main reasons why this movie is great. One reason which I already mentioned is the werewolf transformations. The second reason is the jaw-dropping ending. There is not one, but TWO unexpected major surprises in the last five minutes of the movie; which also paved the way to endless sequels which I have yet to see. Of course, I’m not going to spoil it for you; you have to check it out for yourself. All I’m going to tell you is if you’re ever on a date and your sweetheart orders a rare cooked burger, you should become very suspicious of her true origins. Don’t you just love it when movies give you such life-saving tips?

Mother of Tears Review by Jon Jung

Posted by Josh Samford On February - 17 - 2009

What’s up everybody. Back so soon? Of course! Although I’m still getting my review for Ilsa: Harem Keeper of the Oil Sheiks ready for dispersal, our good friend Jon Jung has been able to get a few words down for Argento’s latest. Although I’m a little softer for the film than he is, he does nail a lot of things down that Argento is completely guilty of. Check it out!

The Review: Genre film fans should well know by now that Mother of Tears, one of the most long awaited horror films, is the third and final installment of the “Mother” trilogy which also included the seminal art-horror flick Suspiria and the overwrought yet enjoyable Inferno. Sadly, however, this series ends on a markedly anti-climactic note. I know that there are a lot of Dario Argento apologists out there who will defend Mother of Tears as at least somewhat of a return to form. After all, the film certainly tries to be good since it has a good amount of gore, plenty of euro-trash imagery (including a group of witches with faux punk/goth makeup and wardrobe), violence against Achilles heels, pubes, eyes, children AND infants, and the mighty Udo Kier. Plus, Argento made his name nearly synonymous with Italian genre film due to his contributions in giallo (Deep Red, The Bird with the Crystal Plumage), horror (Suspiria), and westerns (Argento co-wrote Once Upon a Time in the West). However, we all have to admit that, save a couple of decent entries in the Masters of Horror TV series, Uncle Dario has been phoning it in for most of the past couple of decades. Unfortunately, “Mother of Tears” is no different.

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Varied Celluloid is a film website intent on delivering views on movies from all genres. Started in 2003, the website has been steadfast in its goal and features a database of over 500 lengthy reviews. If you would like to contact us about writing for the website or sending screeners, please visit the about page located here.

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