Archive for the Takashi Miike Films Category


Posted in 2011, Art Movies, Japanese Cinema, Samurais, Takashi Miike Films with tags , , , , , , , on May 17, 2011 by knifefighter

Movie Review by L.L. Soares

To say that Japanese director Takashi Miike is eclectic is an understatement. His long career has included everything from horror films (AUDITION [1999] and IMPRINT [2006]) to Yakuza (gangster) movies (ICHI THE KILLER [2003], GOZU [2001]) to kid’s movies (2004’s ZEBRAMAN) to totally off-the-wall weirdness (THE HAPPINESS OF THE KATAKURIS [20010]). His newest film is a samurai epic called 13 ASSASSINS.

A remake of the 1963 film, THE THIRTEEN ASSASSINS, directed by Eichi Kudo, Miike’s 13 ASSASSINS offers up a work of great heft and beauty, along the lines of Akira Kurosawa’s classic SEVEN SAMURAI (1954), and shows Miike at the top of his form.

When 13 ASSASSINS begins, we are at the tail end of feudal Japan. The old ways don’t have much longer to go before they’re replaced. Shoguns (governors) control their areas and rely on traditional bonds of honor and fealty to keep their legacies intact. But there’s a problem. The shogun of this particular province has a younger brother who has become problematic, to say the least. Lord Nartisugu (Goro Inagaki), the fast rising nephew, will soon take a larger role in the region’s government, but many of those beneath him feel he is not suitable to wield such power. Based on how much he has abused his power so far, the contention is that things can only get worse. His crimes include vicious rapes, mutilations and murders, to name a few, which he gets away with impunity, because of his standing.

So, to prevent the Japanese version of Caligula from rising to power, various government officials conspire to get rid of Nartisugu, by hiring a group of samurai, led by Shinzaemon (Koji Yakusho), to see that he does not get back to the government stronghold alive. The first half of the film involves Shinzaemon gathering up his forces a little as a time, as various allies pledge their allegiance and resources to the cause. The band of warriors includes Shinzaemon’s nephew (a samurai who has been living a decadent life of drunkenness and womanizing), two explosives experts, and, as the group travels toward their goal, an animal trapper who somehow ends up in a trap himself (they cut him down, and he joins their mission).

The second half of the film involves putting their plan into action by turning a seemingly quiet village into a gigantic trap to capture Nartisugu and his forces. The thing is, Nartisugu’s soldiers add up to over 200 men, and the samurais only add up to 13.

While the first half is a bit dry as we go about seeing how their plans come to fruition, the second half of 13 ASSASSINS is pure action. At first, the samurais have the element of surprise and the upper hand in their mission, but after a campaign of vicious fighting, the warriors find that more soldiers are ready and willing to take their fallen brethren’s place. The sheer numbers of the enemies is something Miike makes quite clear. This is not going to be an easy mission to complete. Men are going to die on both sides, and there is nothing to guarantee that the mission will succeed at all.

The fight scenes are well choreographed, and exciting, and despite the film’s 141 minute running time, it does not get boring. Each battle between the samurais and the soldiers is a rough and ready tableau that holds you spellbound.

Miike does a great job of conveying the feelings of the time. There has been a long period of peace during the shogunate, and samurais have been raised to do battle – to be perfect soldiers in a society that has no need for war. When they are finally given a chance to tear loose and combine to face a mutual foe, they are overwhelmed with joy (one samurai even finds himself shaking when he is given the news of how vile Lord Nartisugu is, because he can’t wait to take the man out). These men finally have a chance to use the skills they have learned in a real-life situation outside of a dojo, and they can’t wait.

13 ASSASSINS is an excellent film and definitely worth checking out for fans of samurai films, Japanese movies, and just plain great cinema. Considering how many films Miike makes, the number that are actually pretty great is amazing.

© Copyright 2011 by L.L. Soares



Posted in 2006, CKF On the Edge, Controverisal Films, Extreme Movies, Japanese Horror, LL Soares Reviews, Takashi Miike Films, Television with tags , , , , , , , , on March 10, 2011 by knifefighter

IMPRINT (2006) (An unaired episode of the Showtime series MASTERS OF HORROR)
DVD Review by L.L. Soares

I was pretty excited when the cable channel Showtime began showing their MASTERS OF HORROR series in 2006. The idea behind the show was great. Take some top-notch, and mostly A-List, horror directors and let them push the envelope and go further than past anthology shows. The result, however, was a mixed bag. Although I’d say that, in Season One at least, there were more interesting or downright good episodes than there were clunkers. (Season Two was another thing entirely)

Looking back on the first season, the one thing that struck me most is how Showtime reneged on their original concept. They shied away from truly subversive cinema by first censoring Dario Argento’s episode JENIFER (cutting an oral sex scene gone awry) and then refusing to air Takeshi Miike’s installment, IMPRINT.

Some of my favorite episodes of the season were John Carpenter’s stellar outing CIGARETTE BURNS, John Landis’s return to form in DEER WOMAN (a perfect blend of humor and horror that harkened back to his AN AMERICAN WEREWOLF IN LONDON from 1981) and Argento’s aforementioned, and totally twisted, mini-masterpiece JENIFER.

But after seeing Miike’s banned episode, I found IMPRINT to be easily the best of the bunch.

This wasn’t really much of a surprise. Miike’s film AUDITION (1999) is in my top 10 of best horror movies of all time, and he directs IMPRINT with the same kind of disturbed poetry that permeates his best work.

Billy Drago, the quirky, intense actor who has appeared in everything from B movies like the Chuck Norris flick HERO AND THE TERROR (1988) and Alexandre Aja’s remake of HILLS HAVE EYES from 2006 (as Papa Jupiter) to television shows over the years, from T.J. HOOKER to CHARMED, plays Christopher, an American who begins the episode taking an eerie late night boat ride, on a river full of corpses, to an island in 1890s Japan. He has searched all over the country for the beautiful Komomo (Michie Ito), his one true love, who he promised he would one day rescue and take away from her life of prostitution.

The island is full of prostitutes, and while Komomo is not there, Christopher is forced to choose someone else for the night. With dozens of women reaching out for him from behind barred windows, he chooses an isolated woman at the back of the room (Youki Kudoh), who it turns out is disfigured.

When he is alone with his choice, the woman sees right through him and knows that he pines for someone else. She gets him to talk about Komomo and his plans to find her, and then reveals that she knew his great love. The prostitute then goes on to tell him the story of how his beloved Komomo met her horrific end.

At first she tells him a story of how Komomo was the only one on the island to be nice to her, and how the other prostitutes hated Komomo because of her beauty. When the Madame’s jade ring is stolen, and Komomo is framed for the theft, the other women take great glee in finally having an excuse to punish the girl who is prettier and thinks she is better than they are. They all bring her to a punishment room, where they wait eagerly for Komomo’s comeuppance. What happens next is a long, drawn-out torture scene involving at first burning incense and then long vicious needles applied to fingernails and gums, which was probably a big part of Showtime’s reluctance to air the episode.

Once the disfigured prostitute’s story is over, however, Christopher knows that she is not telling the entire truth, and demands that she tells him everything. This results in her telling the story twice more, about her own childhood and about how she met Komomo, and Komomo’s torture and death. Each time, the story changes slightly. The structure of the episode is similar to the classic Japanese film RASHOMON (1950), except that instead of telling the story from several characters’ point of view, IMPRINT tells us multiple versions of the same story from one person.

I do not want to give too much away, but, as the story gets more horrific with each telling, we start getting into such taboo areas as incest and abortion (probably the number one reason why this episode did not air on American TV). Throughout, there is a strong surreal quality to the proceedings that make us feel as if we’re drifting through a nightmare, up to the ending which is completely bizarre, yet effective.

I thought the lead actors were all good, even Drago whose character is a little over the top. Drago’s performance worked for me, however, because its oddness added to the nightmarish tone.

Miike is a director who does not shy away from shocking images and truly disturbing subject matter, but he is also a visual poet, and there is as much beauty and strong use of color in IMPRINT as there is repulsive and terrifying imagery.

While I did think IMPRINT was a strong, disturbing film, and am not surprised by Showtime’s timidity in not showing this episode, I do not agree with their decision at all. IMPRINT is a very powerful episode and Miike is a true artist. Since horror is supposed to push our buttons, Miike succeeds in proving that he is a true Master of the genre. If it had caused more controversy by being aired, then it would have simply confirmed the promise of the series. A premium cable channel that claims to offer true freedom for filmmakers needs to stick to its guns. But I guess keeping subscribers from possibly jumping ship is the true bottom line.

I suppose we should be thankful that IMPRINT saw the light of day at all, and that we’re able to watch it on DVD (the DVD came out after Season One was over. But I find it supremely ironic that the one episode they didn’t show on television was the crown jewel of the bunch.

Directed by: Takashi Miike
Screenplay by: DaisukeTengan (based on the novel by Shimako Iwai)
Billy Drago, Youki Kudoh, Michie Ito, Toshie Negishi and Shimako Iwai
Cinematography by:
Toyomichi Kurita
Special Effects by:
Yuuichi Matsui

© Copyright 2011 by L.L. Soares

(Note: A slightly different version of this article was first published on the Australian movie website DVD RESURRECTIONS in 2006)


Posted in 2010, Asian Horror, Cannibalism, Colleen Wanglund Reviews, Geisha of Gore Reviews, Takashi Miike Films with tags , , , , , , , , , , on December 15, 2010 by knifefighter

by Colleen Wanglund, the Geisha of Gore

While in the past I have highlighted Asian horror films based on their country of origin, this time I’m going to take a look at two different movies with a mix of countries involved.  Each movie has three segments with each segment being directed by a different director from a different country.  This may get a bit confusing, but please bear with me.  THREE…EXTREMES was released in 2004 and is actually the sequel to 3 EXTREMES II released in 2002.  Throughout Asia its original title was just THREE.  The reason for the “new” titles is due to when the movies were released in the United States, with THREE…EXTREMES coming first.  While both movies are good, THREE…EXTREMES (2004) is definitely the better of the two.  I can’t believe I just said that.  If there’s one thing I hate more than remakes, its sequels.  However, you really can’t look at it as a sequel per se, as there is no continuing story.

First up is 3 EXTREMES II (2002) or THREE as it was originally called.  THREE is comprised of three segments, each around 40 minutes long.  The first segment is MEMORIES written and directed by Kim Ji-woon from Korea (who also gave us 2003’s A TALE OF TWO SISTERS).  It tells the story of a man whose wife has left him and their daughter.  The man goes to a doctor when he begins seeing things and cannot seem to remember the events surrounding his wife’s departure.  He is afraid something bad has happened to her.  A woman later wakes up on the street after it seems as though she’s been attacked and doesn’t remember how she got there.  The assumption here is that she is his missing wife.  As MEMORIES unfolds both the man and the woman begin to remember what happened to each of them

The second segment, THE WHEEL is from Thailand and was written and directed by Nonzee Nimibutr (also written by Nitas Singhamat).  Master Tao is the director of a dance/puppet troupe.  He has lost his wife and son in a drowning when Tao told them to drown the puppets and Tao is very ill.  During the funeral for his family, Tao’s house catches fire and he dies.  His brother-in-law Tong has decided to take over the troupe.  What Tong doesn’t know is that one of the puppets is cursed and it will destroy everyone it comes in contact with.  The puppet has also possessed Tong’s granddaughter and uses her to get what it wants.

The final segment is GOING HOME from Hong Kong, directed by Peter Chan and written by Teddy Chan, Matt Chow, Jo Jo Hui, and Chao-bin Su.  A cop, Wai, moves himself and his son into a building that everyone seems to be moving out of.  When Wai’s son goes missing while playing with a little girl, he goes to his neighbor Yu’s apartment looking for him.  Yu, a Chinese physician, holds Wai hostage because he’s afraid Wai will go to the police (Yu doesn’t know Wai is a cop) about his dead wife.  Yu has been caring for his wife who died of liver cancer and he expects her to revive in a couple of days.  Wai thinks Yu is a kook but just wants to find his son.  Finally the day has come for the revival and Yu releases Wai but not before his fellow cops come looking for him.  Yu is arrested and his wife’s body is taken to the morgue.  What happens next to all involved leaves Wai reeling.

Overall 3 EXTREMES II is a pretty good movie.  With each segment taken individually, though I felt MEMORIES was the weakest of the three.  The basic story was a good one, but when played out it was frustratingly slow and plodding.  There was minimal dialogue which may have been meant to heighten the suspense, but the events were ultimately predictable.  The few gore elements in the short seemed to have been added as an afterthought and seemed out of place.  Not only did I figure out the ending rather early on, but I also knew the wife was dead practically right away.   THE WHEEL was quite a spooky story because puppets and dolls in general creep me out.  Tong was a greedy man who ignored the young puppeteer Gaan when told about the possible curse on the puppet.  Made in Thailand, you get a sense of the respect given to these entertainment troupes as well as the superstition among the Thai people.  GOING HOME from Hong Kong is the best of the bunch.  The story is initially quite creepy with Yu bathing his wife, cutting her hair, and talking to her, but you start to sympathize with him.  He’s convinced his wife will revive on a day that she specified, but he has to be crazy, right?  I also felt sorry for Wai….all he wanted to do was find his missing son but inadvertently gets caught up in Yu’s delusions.  The twist ending was brilliant and quite unexpected.

THREE…EXTREMES (2004) is a better movie overall and managed to snag two very big directors.  The first segment, DUMPLINGS, comes from Hong Kong and was written by Lilian Lee and directed by Fruit Chan (who also expanded DUMPLINGS afterwards into a feature-length film).  The beautiful Ling Bai stars as Mei a sort-of witch whose dumplings promise the eater rejuvenation of their youth.  Mei’s secret ingredient is aborted fetuses (she also happens to be an abortionist).  Li, a television personality is getting older and is not happy about it.  To keep her job and the attention of her older husband Li goes to see Mei for some dumplings.  After a while Li discovers Mei’s secret but it doesn’t stop her from eating the dumplings.

The second segment is CUT from Korea and it was written and directed by Chan Wook-park (who also gave us 2003’s OLD BOY).  It opens with what appears to be a vampire, but it is only a movie.  A disgruntled bit-part actor kidnaps the movie’s director and holds him hostage on the movie set.  The director awakens to find his pianist-wife tied to a piano and is told that he has a choice to make.  In order to keep his wife from having her fingers chopped off at five minute intervals he must strangle a little boy.

BOX from Japan is the third and final segment.  It was written by Haruko Fukushima and Bun Saikou and directed by Takashi Miike (director of 1999’s AUDITION, among others).  Kyoko, a female novelist, is tormented by nightmares of her twin sister who died when they were children.  Through flashbacks we learn that the girls were circus performers and Shoko died in a fire while trapped in a small box the girls used during their performances.  Shoko appears to Kyoko briefly, which leads to the assumption that Kyoko is feeling guilty for her sister’s death.

This is definitely the stronger of the two movies, especially with the presence of Park and Miike, among the best directors in all of Southeast Asia.  DUMPLINGS tells a disturbing story of the lengths a woman will go to in order to keep the things she has in her life.  The end is amazingly horrifying as Li looks for a new source of the rejuvenation process when Mei no longer provides her dumplings.  Li actually begins to appear almost corpse-like, which only adds to the idea of her transformation into a monster.  It begs the question “What happens to women in a society that prizes youth above all else?”  CUT is a gruesome story with elements reminiscent of Italian horror.  The wife is bound and gagged and waiting to be freed by her husband….she expects him to kill the boy.  The director has a conscience, though.  He doesn’t want to see his wife suffer, but can’t bring himself to commit murder.  As the story progresses we see a crack in the façade of their marriage, but we don’t learn anything of the psycho actor’s intentions.  I also felt the segment a little long and at times a bit confusing but this was Park’s first foray into the horror genre.  It’s still a pretty good segment.  BOX is my favorite of the three….actually it’s my favorite segment from either movie.  Okay so I’m a bit biased when it comes to Takashi Miike.  Miike uses ambiguity to his advantage here as it stresses the torment Kyoko suffers.  The same actor plays both Kyoko’s editor and stepfather which leaves the viewer wondering if Kyoko is projecting some aspect of her nightmares.  There are hints of abuse and incest against the girls, but there are also hints of jealousy on the part of Kyoko towards Shoko.  The line between reality, dreams and flashbacks begins to blur and casts doubt on Kyoko’s sanity.  This is a genuinely disturbing short film and classic Miike.  He never tells a story in a straight line. While talking about BOX, Miike described his vision as a metaphor….Kyoko isn’t stuck in her situation, she’s stuck in her own body.  He says “That’s the metaphor, and the fact that you cannot get out of your own body is quite horrifying to me.”  Even death would not be a release.

While both are good movies, if you’re only going to see one definitely go for THREE…EXTREMES (2004).  While 3EXTREMES II was a good movie overall, the segment MEMORIES was weak and drags it down.  THREE…EXTREMES is strong throughout with just a slight hiccup in CUT.  Besides, how could you go wrong with a segment directed by Miike?

© Copyright 2010 by Colleen Wanglund


Posted in 2010, Extreme Movies, Foreign Films, Geisha of Gore Reviews, Gore!, Japanese Horror, Takashi Miike Films, VIOLENCE!, Yakuza Films with tags , , , , , , , , on November 10, 2010 by knifefighter

by Colleen Wanglund

Anyone who knows me knows how much I love Takashi Miike.  For me he’s right up there with Hitchcock, Leone, Kurosawa, and Kubrick—easily one of the greatest directors ever—a cinema genius.  At fifty years old, Miike has directed over seventy films covering everything from family-friendly movies such as THE GREAT YOKAI WAR (2005) to the violent yakuza (Japanese gangster) film DEAD OR ALIVE (1999).  He’s even tried his hand at westerns with SUKIYAKI WESTERN DJANGO (2007) and horror with his short “BOX” in THREE….EXTREMES (2004), ONE MISSED CALL (2003) and AUDITION (1999).  In 2005 Miike was invited to direct an episode of MASTERS OF HORROR, a series of hour-long shows for the Showtime cable channel, each done by a different director and supposedly free of restrictions.  Miike’s installment, entitled IMPRINT, was deemed so controversial that it has yet to air in the United States.  Thankfully it was released to video so it can be seen here….and if you haven’t seen it yet, what the hell are you waiting for?!?  Many of Takashi Miike’s films have become known for their depictions of extreme violence and odd sexual behavior, and this has led to his almost cult-like following in the West.

One of Miike’s most controversial films is 2001’s ICHI THE KILLER.  It’s sadomasochistic, misogynistic, and bloody as hell—and that’s why I love it so much.  Based on a manga by Hideo Yamamoto, ICHI tells the story of a yakuza clan whose boss, Anjo, has gone missing along with 300 million yen (equal to about 3.75 million U.S. dollars) and his girlfriend.  Kakihara (Tadanobu Asano), Anjo’s right-hand-man, will stop at nothing to find Anjo and the missing money.  Of course Anjo and his girlfriend are dead—his murder is among the opening scenes.  Anjo’s murder is an extremely bloody affair, committed by a strange man in a suit with the number 1 emblazoned on the back (Ichi in Japanese for the number one).  The apartment is covered in blood—floor, walls and ceiling—and one of the clean-up crew takes a tumble in a steaming pile of intestines.  When Kakihara goes to the apartment looking for clues, it’s spotless—the blood and bodies have been removed along with the money.  As word gets around to the other families, an informant shows up claiming that a man named Suzuki from a rival family was bragging that he was responsible for Anjo’s disappearance.  That informant is Jijii, an outcast from the yakuza played brilliantly by Shinya Tsukamoto (director of the TETSUO trilogy).  Among the families there exists an agreement that basically sets up boundaries so everyone make can make money, although that doesn’t mean spats don’t break out from time to time.  Kakihara sends his men to get Suzuki and in a scene that even I found hard to watch, Kakihara hangs the man from the ceiling by hooks through Suzuki’s skin.  To add to the torture, when Kakihara doesn’t get the answers he’s looking for, he douses the man in hot oil that he had just used to make shrimp tempura.  I did mention sadomasochism, right?   Suzuki’s boss comes to see what’s happening, but when he’s told of the info they got from Jijii—surprise, surprise—Jijii is gone.  Upon learning he made a mistake, Kakihara goes to Suzuki’s boss to formally beg forgiveness.  This is another very disturbing scene but I won’t spoil it.  I want you to be just as uncomfortable watching it as I was.

Meanwhile we are introduced to Ichi played by Nao Omori.  Ichi is a very meek individual who may also be a bit slow mentally, although nothing is ever really said about it.  Ichi has fallen in with Jijii, Ryo and Inoue—two more yakuza outcasts who appear to be working with Ichi as his clean-up crew.  Appearances are deceiving and Ichi is in fact being manipulated by Jijii.  When pushed to his limit, Ichi dons his black costume with the number 1 on the back and blades in the heels of his shoes and basically tears people apart.  When Ichi was in school he had witnessed the gang rape of a female student and he didn’t help her.  Jijii uses this to get Ichi to kill the yakuza members that he wants dead.  Just how he actually manipulates Ichi is quite interesting.  After one bloody attack on Anjo’s clan, Kakihara finds one man still alive and questions him on what happened.  Another of Anjo’s girlfriends, Karen, shows up and seems to revel in the pain she and Kakihara inflict on the man before he dies.  He decides he wants Karen to be his girl but quickly loses interest when she isn’t capable of inflicting pain on Kakihara.  After this latest attack on the clan, Kakihara enlists the help of a couple of police detectives—a set of brothers—to help him find Ichi.  They find Ryo and kidnap both him and his girlfriend.  To get Ryo to talk they torture his girlfriend in a rather gruesome manner.  Again, it’s difficult to watch.  They ultimately find out about Ichi and set out to find him.  With the help of one of Anjo’s bodyguards, a disgraced cop named Kaneko, Kakihara finds Ichi and the final showdown on a building rooftop is bizarre, to say the least.

ICHI THE KILLER is one of my all-time favorite movies.  It’s definitely one of Miike’s masterpieces.  There is so much going on, but it’s not too much that it gets confusing.  It’s definitely a wild ride and you know it from the title sequence using a particular body fluid—and it isn’t blood.  I must point out that the scarred man on the movie poster/DVD cover is NOT Ichi.  So many people seem to think it’s him but it is in fact Kakihara, because the movie is about him as much as it is about Ichi.  It’s also about Jijii and his obsessive need to wipe out this particular yakuza clan.  Kakihara is a man who feels nothing.  He needs to feel pain in order to feel human.  There is a joke made about Kakihara maybe being “in love” with Anjo, but the fact is he needs the pain that Anjo inflicted on him.  There’s a scene where Kakihara is chained up in a room and he is instructing Karen on how to inflict the most pain, but she can’t quite do it and he becomes extremely disappointed in her.  It’s almost sad to see as he changes his mind about Karen being his girlfriend.   In the manga version, there is an almost supernatural element to Kakihara, with his ability to absorb the pain and use it for power.  Miike has quite effectively changed that to a much more psychological element.  Kakihara’s quest to find Ichi is not so much about revenge for his boss’s murder, but his almost suicidal need for Ichi to inflict the ultimate pain on him.

Another element to the movie that I find interesting is the lack of fight scenes.  There is a lot of blood spilled at the hands of Ichi, but we don’t ever actually see it happen.  We only see the aftermath of Ichi’s work and it’s still quite gruesome.  The blood sprays but the action itself is rarely seen.  However, as I’ve already mentioned, there are some scenes in ICHI that are very difficult to watch; not so much for the gore but for the kind of pain you can practically feel yourself.  It really is enough to make you squirm…and I did.  There is also a depth to the characters in ICHI that you wouldn’t necessarily expect in a horror/yakuza film.  Besides Kakihara’s obsession with feeling pain, there is Jijii’s obsession with taking down Anjo’s clan—killing them all—and how he is able to manipulate Ichi to do what he wants.  Then of course there is Ichi himself and what drives his compulsion to kill the way he does.  You will be asking yourself “How can this meek little man turn into such a cold-blooded killer?”  There’s another story going on with the bodyguard Kaneko and his son Takeshi.  Kaneko is a disgraced cop who was given a chance to earn some money by Anjo.  His wife left him and Takeshi is afraid Kaneko will also leave.  Kaneko is very loyal to Anjo, but must try to balance that loyalty with caring for his son.  Kaneko ultimately plays a major role in finding Ichi.

My DVD of ICHI THE KILLER comes with two hours of bonus material, including the making of ICHI, commentary with Takashi Miike and manga writer Hideo Yamamoto, and the original movie trailer.  There is also a featurette called “The Cult of Ichi,”  which includes interviews with author Jack Ketchum, actress Debbie Rochon and Tony Timpone, publisher of FANGORIA magazine.  My daughter bought the DVD for me while at an anime convention, and it’s one of my favorite gifts from her.  She knows what her mama likes.  This is, in my opinion, a must-have movie for any fans of horror or the bizarre. For anyone who may be interested, you can read the manga that inspired the movie online for free by going here.  It is actually more graphic and bloody than the movie.

Colleen Wanglund

© Copyright 2010 by Colleen Wanglund