View Full Version : Review Contest Voting
06-29-2005, 04:13 PM
Months after promising we'd close up this contest, the reviews have finally been grouped for voting. Included below are the four review submissions given to Dave and I, and now it is your job to pick which one you like the best. The four participants have all put a lot of hard work into these articles, so please take the time to read them all, and pick your favorite. Please don't base it solely on length or subject matter, but on the writing as a whole. Some of the submissions are from members of the forum, and some are not, but please do not ask who did what, because we won't tell until after the contest. If we find any of the writers telling others which their article is, there article will be disqualified. Let's keep this fair, let's keep this fun.
The winner, after the poll closes a week from now on Wednesday, July 13th, will receive a 40 dollar gift certificate to their online DVD retailer of choice. And they will naturally buy great movies like TROLL 2 and HOUSE OF THE DEAD with their winnings. Depending on your reception of the reviews, some of the reviewers may be asked to come back and start reviewing on the site. Everyone else gets a nice and hearty pat on the back. So vote away, readers.
*** If you've entered this link via the front page, please click here (http://www.horrordvds.com/vb3forum/showthread.php?t=25631) to be able to vote.
06-29-2005, 04:20 PM
The year was 1982. I was an adventurous 10-year old who loved nothing more than to scan the late night cable channels for weirdness and maybe if I was lucky, a little skin. Early one summer morning I tuned into a movie called FORBIDDEN ZONE and entered a world of frog-headed butlers, topless princesses, midget kings, bizarro-torture chambers, and lots and lots of humping. We all have at least one movie that warped us for life. For me, that movie was FORBIDDEN ZONE. Hard to find for years, the movie’s cult of followers have had to settle for bootlegs or ancient ex-rental copies. Director Richard Elfman began a website a few years ago dedicated to his little film. The level of interest exceeded his expectations, wheels began turning and now Fantoma has released this cult classic. Is it what fans have hoped for all these years? Let’s see.
The Story: Richard Elfman packs more strangeness into 73 minutes than most others do in six or seven films. Recounting the plot doesn’t really do this film justice, but here goes: The Hercules family discover a hidden door in the basement of their slum home that leads to the Sixth Dimension. The curious daughter Frenchy [Maria Pascale-Elfman] ventures inside and finds herself trapped in a bizarre kingdom ruled by King Fausto [Herve Villachaize] and his Queen Doris [Susan Tyrell.] The king immediately falls for Frenchy and spirits her away to a secret chamber. The jealous Queen vows revenge. Meanwhile, Frenchy’s brother Flash [Phil Gordon] and their grandpa [Hyman Diamond] venture into the Forbidden Zone to rescue Frenchy but the Queen and the evil topless Princess [Giselle Lindley] are determined to track her down and torture her to death. Will Flash and Gramps be able to stop humping the females they encounter long enough to save her from Queen Doris and escape the bizarre netherworld of the Sixth Dimension with its kooky characters? And what will happen when the rest of the Hercules family stumbles into the Zone? Whatever happens, it’s certain the viewer won’t be bored.
FORBIDDEN ZONE is much better than it has any right to be, a patched together film that was originally intended to feature The Mystic Knights of the Oingo Boingo, which both the director and his brother Danny Elfman helped found. Everything about the movie reeks of cheapness, but there’s a spirit of crazed creativity that causes it to rise above its underground origins. Film critic J. Holberman favorably compared the movie to THE WIZARD OF OZ in its ability to transport the viewer to another world. The actors certainly do their part. Herve Villachez and Susan Tyrell both have bravura performances as the Sixth Dimension’s royal couple. Richard Elfman reveals that the two were involved in a relationship prior to filming and it gives a charged atmosphere to their scenes together. Matthew Bright [credited here as “Toshiro Baloney”] turns in a duel performance as Squeezit the Chicken Boy and his cross-dressing sister Renee. Bright also co-wrote the film and it was his sole credit before breaking into mainstream film with FREEWAY in 1996. Danny Elfman nearly steals the show as Satan during one of the more memorable musical numbers. Joe Spinell [MANIAC], Viva [of Andy Warhol fame], and performance artists the Kipper Kids also have brief roles.
The movie was originally intended to be a sort of extended music video for The Mystic Knights of the Oingo Boingo [who of course later shortened their name to Oingo Boingo and went into a slightly more conventional direction.] The connecting story became the main focus instead of the songs, but FORBIDDEN ZONE still has some of the most memorable musical sequences ever made [its soundtrack CD has remained in print all these years] showcasing the talent of Danny Elfman along with several classic records of the Thirties and Forties. As his brother Richard points out numerous times, this was Danny Elfman’s first non-rock composing work, and Elfman fans will definitely want to add this disc to their collection.
Image Quality: The days of dodgy bootlegs and grainy rental copies are over. FORBIDDEN ZONE comes to us in a 1.78:1 widescreen anamorphic transfer supervised by Richard Elfman. The sights of the Sixth Dimension have never looked so good, all the better to appreciate the unique set designs and decorations.
Sound: Here we have a Dolby 5.1 Surround Sound, along with an isolated music track which fans will really appreciate. There is also a commentary track with Richard Elfman and Matthew Bright.
Supplements: The disc really shines here. We have a 35 minute documentary on the making of the film, with Richard Elfman interviewing several of the stars, along with his brother Danny. The documentary has a lot of old footage of The Mystic Knights of the Oingo Boingo, and fans of their music will be fascinated to see the band’s theatrical, more avant-garde roots. The only weakness is that the documentary focuses as much, if not more, on Oingo Boingo the band than on Forbidden Zone the movie, but this is rectified by the audio commentary with Richard Elfman and Matthew Bright. The two have a great time reminiscing and tell fans all about the making of the film, along with several anecdotes about the various actors [the best of which probably being stories of Villachaize and Susan Tyrell fighting on the set.]. Bright spends much of the commentary drooling over the topless Gisele Lindley and Elfman heckles him mercilessly about his portrayal of the cross-dressing masochist Renee. The director also jokes about the film’s political incorrectness and points out each moment in the film that has been found to be offensive over the years. The commentary is a hilarious listen from beginning to end. We also have a number of deleted scenes, a couple of early musical sequences from THE HERCULES FAMILY [an early version of the film], a trailer, and an OINGO BOINGO video directed by Richard Elfman. There’s also a collectible booklet with lyrics to most of the songs.
Final Thoughts: It’s always great to have one of your favorite films finally available on DVD, especially if it’s one that you’ve loved for years and years. It’s even better when as much care is committed to putting the DVD together as Fantoma has done here. FORBIDDEN ZONE is finally on DVD, and will continue to warp minds for years to come.
06-29-2005, 04:22 PM
Empire of the Ants/Tentacles
Today, I got to review a flick I loved as a kid, but have not had a chance to see in many years since my parents went out of the video business. That film was Bert I. Gordon’s Empire of the Ants. Thanks to MGM’s newest wave of Midnite Movies Double Features, I was also introduced to Tentacles, a movie I had never previously heard of till now.
Empire of the Ants’ story is pretty straightforward. Dreamland Shores is hosting a party on an island for assorted prospective buyers of their seemingly idyllic beachfront property. Little do the prospects know that radioactive waste barrels have been recently dumped into the ocean, and that one of them has washed ashore the property. We see a close-up of a barrel leaking a strange silvery substance, and once the cast arrives on the island, we see the same close-up some time later, only to find that several ants have happened upon the silvery substance. Later, as the party is touring the island, the ants (now giant) show up to attack members of the group.
Joan Collins heads a solid cast as Marilyn Fryser, a shifty Dreamland Shores saleslady. The characters of the film were truly its strong point. Early in the film at the initial party along the beach, there are many wonderful characters moments. That said, Empire of the Ants isn’t particularly a “good” film, but it sure is a fun one. Mainly due to how decidedly straight the cast and director seem to be taking the material. If the film played everything tongue-in-cheek, lines like “Oh my God, they’re herding us like cattle!” wouldn’t have near the entertainment factor. This brings us to the ant sequences. Unfortunately, they seem to be a mixed bag. The child in me says that the magnified shots of the ants placed alongside the actors are really cool, but visually, the reviewer in me says the FX just don’t quite work. The close-up attack sequences worked the best, despite the ants being very obviously phony. The kills aren’t particularly gory, but I was surprised at the amount of blood that was shown for a PG film. The good thing is that from about thirty minutes in, to the end of the movie, you get to see plenty of large ants in action. My particular favorite visual was seeing the ants running across the dock to attack the boat. Things get a little silly (well, sillier) toward the end of the film, with the whole ant/human mind-control sub-plot, but not enough to hinder my enjoyment of the film. The music was enjoyably (and somewhat laughably) heavy, aping more than a few moments from John Williams’ Jaws score. As mentioned, the script has a few stinker lines of dialogue, but wasn’t nearly as bad as other cheesy monster movies I’ve seen.
On the second side of the disc, we have Tentacles. Truly the opposite of Empire of the Ants, Tentacles isn’t nearly as fun or enjoyable, although it does have its moments. The film starts out on a particularly mean-spirited note, as a baby in its stroller is found missing along the shore of Ocean Beach (though its stroller is found empty in the sea). Soon, others turn up missing, only to be found floating, stripped of their flesh. Ned Turner (John Huston) is a local reporter, who’s just itching for answers to the strange phenomena, which soon are revealed to be the work of a giant octopus. Also on-hand are Bo Hopkins, Shelly Winters, Claude Akins, and even Henry Fonda as Mr. Whitehead, the owner of the construction company whose underwater tunnel is to blame for the creature’s emergence and nasty behavior.
As an Italian Jaws rip-off, Tentacles definitely could’ve been a lot worse. At the same time, given that this came out just as the Argento/Fulci Italian horror boom was just getting rolling, one would think that this would’ve been a great deal more violent and bloodier than it ends up being. It also has one of the most annoying musical scores I’ve ever heard in a horror film. The film could’ve been a great deal of cheesy fun, if not for its one major flaw: It’s just so blasted dull. So much talking, so little giant octopus stalking. Being Italian, it often has the dreamy, somewhat nonsensical atmosphere of your average giallo, making for a bit of cross-genre fun. There are some nicely shot underwater sequences, and a few fun octopus attacks, but not nearly enough, given the drab script and pace we have to endure to view them. The finale is a somewhat rousing crowd-pleaser, though, as two killer whales battle the monster.
MGM has released Empire of the Ants in anamorphic widescreen, in its original aspect ratio of 1.85:1. The print truly looks great, as there were no moments of print damage that I could see or visible instances of dirt. Occasionally a sequence (mostly ones involving ant FX) would look a bit grainier than the others, but not so much that it became a distraction. Colors were a little faded, but having not seen the film in years, I couldn't tell if that was from this transfer itself or just late 70's fashion. Tentacles is also anamorphic, with a ratio of 2.35:1. It’s somewhat unfair that such a lackluster film could have such an impressive transfer, while much better films are given far worse treatment on DVD, but I must say, MGM has done great work with Tentacles. The colors are vibrant and the scenes themselves are clear and blemish-free, almost like that of a brand new film.
Included on Empire of the Ants are English, French, and Spanish Mono tracks. Dialogue is clear and balanced, not once getting drowned out by the music. Pretty un-spectacular, but given that this is how the film was intended to sound, I’m glad they didn’t alter it. Tentacles has English and Spanish Stereo Surround tracks, which really weren’t given much to do, given the talky nature of the film. Though there’s one jump-scare early in the film in particular, which put the track to great use and was quite effective.
The only supplements included with each film are their original theatrical trailers, which really shouldn’t be viewed until after watching the films, as they both give away quite a bit. Given my early childhood love of the film, I would’ve liked to have seen at least a small featurette on the making of Empire of the Ants, but what we’re given by MGM is more than fair enough for the price they’re asking.
If you’re a fan of cheesy 70’s science-fiction/horror fare, you definitely need this entry in MGM’s Midnite Movies series in your collection. Empire of the Ants stands as an example of what happens when you try to make a 1950’s drive-in movie with the sensibility of the 1970’s drive-in movie, and Tentacles is basically what happens when you try to re-film Jaws, only with an octopus and a whole lot more dialogue. If you’ve seen either one before, they’re likely to bring back more memories than shocks, and for my money, that can be just as good.
Movie – C | D
Image Quality – B+ | A-
Sound – B | B
Supplements – D | D
06-29-2005, 04:23 PM
The 1971 movie Willard is a cult film in the strictest sense of the term. It’s fixed so firmly in the public consciousness that even my mom remembers it; yet, the film’s almost impossible to find. I’ve never seen Willard on television, nor has it been released on DVD. Even The Ratman’s Notebooks, Stephen Gilbert’s novel on which the film was based, is out of print. In fact, the only physical evidence I can find that Willard exists is a VHS tape from 1989 that, last I checked, was selling for $60 on EBay. What’s a musophile under thirty to do? Enter Glen Morgan (Millennium, The X-Files) and James Wong (The One), who’ve done something I’ve never thought possible. They’ve spearheaded a remake that I’m very thankful for.
Willard Stiles (Crispin Glover) has the kind of life that no one in his right mind would envy. His father’s killed himself, his boss hates him, and his own sickly mother (Jackie Burroughs) wishes she’d named him something less dorky. Plus, there are rats in his basement.
Willard tries to get rid of the rats at first. But he soon finds that the rodents accept him, unlike most people he knows. They follow him everywhere and eat Numm-Nuts out of his hand. A white rat he calls Socrates is especially friendly: he cuddles, sleeps in Willard’s bed and hangs out in his pocket. Willard’s relationship with his furry friends is heartwarming, in a squirmy sort of way. But then he gets angry, and the rats will do anything--and eat anyone--he wants.
This new Willard bombed at the box office, and I’m not sure why. It’s not the kind of horror movie that propels itself from one scare to the next. (Do we really need more cats jumping out of closets?) Rather, Willard plants seeds of disquiet in its audience and tends to them for an hour and a half.
Most of that disquiet is due to Crispin Glover’s acting. He plays Willard as if he were indeed a rat in human form. He twitches, his eyes dart nervously back and forth, and when he’s upset his breathing goes shallow, like a rodent sniffing the air.
If Willard is a rat, his boss Frank Martin (R. Lee Ermey) is a big, hulking cat. The late Mr. Stiles was his business partner, but he can’t stand Junior at all. There are only two reasons Martin keeps him around: because his father was an old friend and because, really, the boy is so much fun to torment. “Who’s that at your desk out there, Willard?” Martin asks, sounding like some high school punk cornering a nerd in the schoolyard. “You should know. It’s your fault she’s there.” When he’s not giving Willard’s desk away, he’s berating him (loudly) in front of the other employees: “You wouldn’t make a pimple on my grandmother’s tush.” In other words, Willard’s boss is overdue for a karmic beatdown.
Mr. Martin is definitely nasty, but it’s Willard who’s the real horror in this film. His psychological itchiness belies a cold detachment from humanity. Other people’s suffering makes Willard’s anxiety around them evaporate. After going to his boss’s house for some inter-species vandalism, he skips into work like a little girl with a lollipop. “Hey, what’s up?” he chirps. “Morning, Cat. You look very nice today!” He’s more of a sadist than Mr. Martin is.
Willard bonds so well with rats because he doesn’t care about people. A girl at work called Cathryn (Laura Elena Harring) genuinely wants to befriend him. She invites him for coffee and goes to his mother’s funeral. But when Willard croons, “You’re the only friend I’ve ever had,” he’s talking to one of the rats, not to her.
The rats themselves don’t scare me as much as their master does, but they do make for some nice special effects. Director Morgan likes to show them off with overhead shots where Willard is standing in an empty room and rats suddenly pour like water from the walls. At one point he steps out of an elevator, grinning and dripping with rats. In fact, the rodents behave more like a river or a sea than like hundreds of animals. I don’t know if it’s a symbol of what Willard’s craziness does to them--for the rats are as much Willard’s victims as those they consume--but it sure is pretty.
What happens to people Willard doesn’t like, however, is not. His psychosis makes his befouled universe beautiful: the rat droppings everywhere don’t disgust him, human beings are insignificant, and he can’t see the bully he’s become. In this topsy-turvy world Willard does what I think is the most chilling thing in the entire film:
“Right now, at this moment,” he says, smiling, “I like myself.”
Willard’s world is a dark and dreary place. Unfortunately, many scenes in his basement are a little too dark; it’s sometimes hard to see much of anything. Lighting that worked so well in a dark theater isn’t bright enough on the TV in my relatively well-lit apartment. Still, this lighting problem is the only thing wrong with Willard’s picture. Presented in both fullscreen and widescreen versions on a single disc and a 2.35:1 aspect ratio (16x9 enhanced), the image quality is crisp and clear. Colors like the deep burgundy of Willard’s robe are vibrant, while the grays and greens of his office are suitably drab. Nothing seems fuzzy or washed out. Considering that Willard is a very recent film, I’m not surprised.
The DVD features both Dolby Digital 5.1 and Surround Sound 2.0 tracks. Shirley Walker’s big, booming score is certainly different from horror’s traditionally minimalist soundtracks (e.g. Halloween’s plunking scariness; the whispery chant in Friday the 13th). Willard’s theme has a large orchestra and--dear God--accordions. Even so, the film’s score works extremely well. It’s both frenetic and creepy, and the instruments’ harmony sounds tenuous at best. We sense that if something threw the music a bit off, the whole piece could come unraveled: much like Willard himself. Sounds in general have no fading or crackling. Even the rats’ squeaks and scurries are perfectly, eerily audible.
Willard made just $4 million in its opening weekend and blew through theaters within two weeks. With its poor box office showing, New Line could’ve easily released a cheap, bare bones DVD to protect its investment. Thank God it didn’t. This DVD has a boatload of extras: from a theatrical trailer and filmmakers' commentary to TV spots and deleted scenes, almost everything a Willard aficionado could want is here. There’s even a short documentary on “Rat People: Friends or Foes?”--narrated by Bruce Davison, the original Willard himself --in which rat lovers and rat exterminators are interviewed. It’s not as deep as something on Animal Planet, but I did learn some interesting stuff.
My favorite feature, though, is a 70-minute behind-the-scenes documentary called “The Year of the Rat.” Filmed and narrated by Julie Ng, it follows Willard all the way from casting to test screenings. The story of how Willard was made is dramatic enough to be a movie in itself. Potential Willards pass on the title role. Production gets pushed back again and again, and when the movie finally wraps, it has to be cut down from an R-rating to a PG-13. Ng wants “to capture the everyday workings of a film,” and she does just that. Though she laments being unable to capture either accidents or arguments-- “I can go punch Glen [Morgan] in the face, if you like,” Glover quips--the documentary’s fascinating without them. I’ve never had so much fun just watching people do their jobs.
The deleted scenes are also fun. Unlike the deleted scenes on other DVDs I’ve seen (Killer Klowns From Outer Space, for instance), they actually add depth to the film. Yes, many are original R-rated cuts, but there are also scenes that explore the relationship between Willard and Catherine, and scenes where Willard grieves over his parents in his own neurotic way. It’s a shame these scenes were edited out.
Glen Morgan’s Willard isn’t for everyone. Horror fans expecting lots of gore and action will be disappointed. While it doesn’t surpass Carrie as my favorite “revenge of the nerd” horror film, I like Willard. Sure, it contains the most obvious piece of foreshadowing ever filmed, but what’s a killer rat movie without a little cheese? Willard is a claustrophobic psychological thriller that doesn’t take itself too seriously. Now, if only someone would re-release the 1971 original. Or even its sequel, Ben.
Image Quality: B+
06-29-2005, 04:25 PM
Alien 3 Collectors Edition
David Fincher made his movie debut with the third entry in the Alien franchise. It was a tall order for a director in his 20's, to come in and try and breathe life into a project that had been started and stalled a few times already. Of course the expectations were high after James Cameron had reinvented the franchise with the second entry Aliens. Could Fincher do the same? This special edition has the version released in theatres and the longer edition that Fincher orginally handed in to Fox studios. Let's have a look at both versions of Alien 3.
The story picks up where Aliens left off. Ellen Ripley (Sigourney Weaver) and the other survivors from Aliens are in hypersleep but are soon jettison in an escape pod before crashing into the ocean of the prison planet (Fury 161). Ripley is the only survivor and is now being cared for by the resident doctor Clemens (Charles Dance) who has a few secrets of his own. Ripley suspects that a facehugger may have inserted eggs in some of her comrads. A grissly autopsy of the little girl Newt that she rescued in Aliens puts her fears to rest for a little while. Then the prisoners start to disappear as a dog born alien starts taking them one by one in the shadowy hallways of the prison.
With the commander dead, Ripley, head prisoner Dillon (Charles Dutton) and the remaining guard Golic (Paul McGann) take control of the prisoners and form a plan to lure the alien into the furnace by using themselves as bait. It's a race against time as the prisoners are trying to survive against the beast and Ripley wants the alien destroyed before the companys rescue and retrieval team arrive to claim their prize for the bio-weapons division.
The longer version of the film has a few minor changes in the overall story but most of the extra scenes are used to flesh out characters which in turn gives more meaning to some of the events that took place in the teatrical cut. The beginning of the film now has a beautifully shot scene where black oxen saddled with harnesses and ropes are pulling the craft on to the shore. The alien is now born of one of these oxen rather than the dog. These changes are incidental where as the character depth really does add to the film and make it much more epic.
The first Alien film followed the classic horror formula and perfected it. The second raised the bar on action movies and redirected the franchise successfully. The third film is most similar to the original in structure, pacing and suspence but is definatley the film-noir of the series. The first time director handles the dark imagery and subject mattter well but was unfortunate not to have been given final cut.
20th Century Fox Home Entertainment presents Alien 3 in Anamorphic Widescreen (2.35:1). Both versions of the film are on the first disc using the branching feauture and have been THX digitally mastered. The film looks crisp and vibrant and the added scenes match pretty closely considering how long they were out of circulation. All the tunnel chase scenes are much clearer and more detailed than they were on the VHS rental versions I have seen. Lack of any obvious grain, dirt or scratches makes this DVD a pleasure for the eyes.
Presented with a beautiful 5.1 DTS capable sound. I think films sound is at its best when you don't notice it, everything sounded in the right place so you have time to get lost in the film. Before the extended version of the film begins a warning is given that some of the source materails audio was of a poor quality and gave the option to add subtitles for those sequences. I found it totally unneccesary as I had no problem understanding all the dialogue and the shift in overall audio quality for those scenes were minor.
The extras provided for this set are stellar and should please all fans of the franchise. Firstly they provide commentaries for both versions of the film by a host of people involved with the films production. It cuts betwen all the different parties and they are all very enthusiastic about the production, their director and that such a great job was done under such difficult circumstances. The only complaint is that you don't get to hear from David Fincher himself, but after watching the making of featurettes you get a feel for why he may not have wanted to.
The second disc has 11 new comprehensive featurettes. These cover every aspect of the making of the film from pre-production right through to post-production. They use a blend of new interviews and original onset footage. Every feature here was interesting and well put together. The highlights for me were the interview with original director and screenwriter Vincent Ward, interviews with HR Giger from his workshop and seeing David Fincher directing onset. Also included are your standard multi angle scene studies, still photos, storyboards and conceptual art.
This is the ultimate Alien 3 set. The extended version could and should garner new fans for the third chapter. The film looks and sounds great and other than David Finchers dissapointing absence from the supplements either in commentary or recent interview form the supplements are mindblowing. I always liked the Alien 3 theatrical release but the extended assembly cut that is on offer with this set is my favourite in the entire franchise. You can pick up this Alien 3 Collectors Edition either as the 2 disc set described here or as part of the Alien Quadriology box set.
Image Quality - A
Sound - A
Film - B
Image Quality - B+
Sound - B
Film - A
Supplements - A
06-29-2005, 05:52 PM
06-30-2005, 03:28 AM
I have read each of these, great stuff from everyone. And really, I feel HorrorDVD's desperately needs new reviewers to get the volume up a bit.
You can only choose one though..... I'm going with..... the first one.
It's really a tip of the hat to the first review, rather than a put down to the others. However, I likd that a more obscure film was chosen. I felt I was learning about a film I would otherwise have not kown about.
Well done all! Good luck!
07-04-2005, 01:54 AM
The contest date has been extended by a week in order to give everyone sufficient time to vote on all submissions.
The new close date is therefore now Wednesday, July 13th, 2005.
07-15-2005, 06:11 PM
The contest is now finished, and I'd like to congratulate forum member WesReviews for his review (fitting name, isn't it?) of Empire of the Ants/Tentacles. allmessedup, who won the article contest, placed a close second with his review for Forbidden Zone. Wes will be awarded a 40 dollar gift certificate, and has been invited to start revieiwng with us. Expect many contributions from him starting in the next week. Thanks to all for writing these bad boys for our viewing pleasure, they were most enjoyable.
07-15-2005, 09:57 PM
Congratulations Wes and allmessedup!
07-15-2005, 10:28 PM
Well done, Wes! Look forward to seeing the reviews!
07-15-2005, 10:31 PM
Wes, great review for a great movie. Congrats!!!
Evil Dead Guy
07-15-2005, 10:41 PM
07-15-2005, 11:46 PM
Hard to beat a guy named WesReviews! Good job!
07-16-2005, 06:49 AM
07-16-2005, 04:33 PM
Thanks everyone! :)
Dave, Rhett and all the other reviewers here past and present have set the bar pretty high with their reviews. Just hope I can live up to the high quality and standards you readers are expecting. I'll definitely do my best! :D Thanks again, guys!
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