Chimpomatic

Doctor Who - The Waters Of Mars

(dir. Graeme Harper)

BBC One

Another fun entry in modern Who cannon as the current Doctor heads towards his final episodes. We're off to Mars here, as the Tardis lands on the red planet in 2059, just in time to find the crew manning Bowie Base One in trouble with some H20.

The Doctor's initially pleased to meet the crew, lead by Lindsay Duncan and Peter O'Brien (Neighbours, Flying Doctors and Casualty) - until he realises he's arrived at one of those points in time which just can't be changed - "certain points in time are fixed... Everything else is in flux, anything can happen, but those certain points, they have to stand... This base on Mars... what happens here must always happen." Something about altering the course of future events etc (not that it's really bothered him much in the past) (or is that the future?). So as soon as he arrives, he's getting ready to go. 

Duncan's a good foil for the Doctor here - it always seems to work when they try that that Harry Potter trick of roping in some classy British thesps to bump up the acting credentials on this show. The monsters are quite engaging, even though it's hard to escape the feeling that they're wetting themselves all the time (you'll see what I mean). Even though he's only got as far as Mars, it's fun to see the Doctor getting off Earth - one of the main problems in the new Who is that the Tardis seems stuck on ending up in recognisable moments in our planet's history. Bit of a shame when you could go anywhere in the universe, at any time, really. 

Basically Waters Of Mars is a set-up to remove the Doctor's man of action status and get him to angst over all his interventionist tendencies -  a theme that looks like it's set to play out as we head towards his impending doom/regeneration. Will he ever pay for mucking about with time? Are there consequences when you can keep zipping back and forwards through the time stream?

Was it always this heavy when they used to get near  the moment whenthe actors got worried about being typecast as the Doctor each regeneration? I remember it all being much more of a surprise when I was a kid and Tom Baker or Peter Davison suddenly morphed into view, but maybe that's because I wasn't online wading through the geek soup all day. Does seem to be wavering on that fine line between not taking itself seriously (the GADGET robot stuff here is pretty silly) and then getting disappearing up its own Tardis with the weight of it all. Still, it's a good teatime thriller, and I'm intrigued enough to want to see how they finish David Tennant's tenancy off/introduce Matt Smith in the Christmas specials. 

Whoniverse extras:

The Doctor's back in his own astronaut suit, from The Impossible Planet. 

Nice K-9 ref.

Looks like there's going to be a bit of a greatest hits reunion coming - The Master, Donna and the Ood are all heading our way for the Christmas finale.

#TV
#chimp71

7th Nov 2009 - Add Comment - Tweet

Inglourious Basterds

(dir. Quentin Tarantino)

Miramax

After the pasting that Death Proof got here (we even had to get Tech Support to code us up a special Zero Stars graphic) expectations haven't exactly been riding high for Tarantino's Nazi-bashing opus. It's also had one of those long gestation periods that puts you off, with rumours flying around that he's had to cut chunks out/ add loads back in, that it was going to be split in two (again!) or was so long he was going to have to turn it into a TV series (actually, it would be kind of fun if HBO would let him loose some time); the mixed reviews at Cannes certainly didn't seem to bode well either. 

But forget all that. About five minutes into this film, you'll remember what it is you liked about Tarantino in the first place. Yes, he's a total film geek whose only frame of reference seems to be other films - but when he pulls it off, he's more than capable of turning that encyclopedic knowledge into something thrilling. Basterds is exciting, has something to say, has a great cast - and more than anything, it's surprisingly fun.

Here, we've got two main threads running in tandem through five chapters. On the one hand, the Basterds - a kind of Dirtier Dozen, with Brad Pitt leading a commando unit of Jewish avengers on a rampage through second world war Germany, scalping as many Nazis as possible and generally causing total havoc. That's the story that's featured in the early trailers, and again, the prospect of watching a bloodbath for two hours didn't really seem that promising. 

The other thread involves a Jewish woman (a brilliant Mélanie Laurent) who's running a small cinema in the heart of Nazi-occupied Paris. She's living in secret, passing herself off as a gentile, when a German war hero falls for her, and convinces Goebbels and the rest of the Third Reich (including Hitler) that her little cinema would be the perfect venue for the premiere of Nation's Pride, a propaganda film about his real-life war exploits (which he's also starring in)...

Tarantino pulls these two stories together with typical flair, but it's much more subtle than the tricksiness of Pulp Fiction. There's real drive and tension here as the pieces weave together - don't want to go into too much more plot detail here, as half the fun is not knowing how it fits together.

What's also worth noting is that Brad Pitt aside, this is a cast of relative unknowns - you may have seen Diane Kruger in Troy, but don't hold that against her - she's great here as a German movie star. Hostel director Eli Roth plays one of the Basterds, Sgt Dony Donowitz (and he also shot the footage for Nation's Pride). Michael Fassbender (Bobby Sands in Hunger) is the British spy teaming up with the Basterds. Daniel Brühl is the smooth-talking German war hero. Even Mike Myers is hilarious again in a cameo as a British army officer barking out mission instructions. But the real stand-out is Christopher Waltz as the creepy Nazi Col Hans Landa - effortlessly flipping between German, French, English and Italian (in one of the film's most hilarious/tense scenes). He's a character that lingers long after the credits have rolled. And you won't look at a glass of milk in the same way for a while.

It's heavily subtitled, which Tarantino uses to great effect. Unlike a lot of second world war films, he's not afraid to let everyone speak in their own language, which builds a sense of the war taking place across the continent; language becomes something to hide behind, or give people away. Even Pitt's Southern-drawling Lt Aldo Raine could do with some explanation at times - his accent is so hilariously OTT it should come with subtitles... 

For film buffs there's plenty to enjoy - although you may want to brush up on your war films before watching if you want to get all the references here. The title of the first chapter - "Once Upon a Time in Nazi-Occupied France" - sets the tone. This is a fantasy, a film that's not afraid to take history and play fast and loose with it; to talk about cinema's power and potential, and ideas of revenge; and also, for once, to start to examine some of the more gratuitous aspects of the QT violence in the cinema aesthetic (alright, while still giving us some more insanely gratuitous moments). It's also just really enjoyable - much more of a romp than you'd expect.

#Film
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18th Aug 2009 - Add Comment - Tweet

The Cave Singers

Welcome Joy

Matador

Rising from the ashes of Pretty Girls Make Graves, the Cave Singers have quickly expended beyond the success of that band and carved out a nice niche for themselves. Debut record Invitation Songs was an unknown quantity, bringing a certain mystery and uniqueness that was initially a little difficult to crack. Was it a guy singing? A girl? Marge Simpson? Are they taking the piss? Once those initial questions had settled down a little, the record settled in to become an easy stand-out of 2007.

There's certainly less mystery to this new record, but instead just a welcome anticipation that this is going to be good record. On first listen there's certainly little disappointment, but the initial reaction is 'here's some more Cave Singers' - 10 new tracks that sound like a direct expansion on the first album. Repeated listening quickly dispels that simple notion.

Over the course of opener Summer Light and second song Leap, the album ramps up to a higher tempo than Invitation Songs and it never looks back. The eclectic folky sound of the debut is subtly pulled back, stripping away some of the washboard and the melodica influence and giving way to a more traditional rock sound. That sound is bolstered by the production of Colin Stewart, who returns to man the decks after the debut, plus stints producing favourites including Black Mountain and Ladyhawk.

As the record settles in, the evolution of the band's sound starts to emerge, with them now sounding somewhat more grown into their sound. Songs are belted out with a more self-assured style and what was something of a novelty with the first record is now the definitive sound of an accomplished band. Songs like Townships, At The Cut (mp3 here), Beach House (mp3 here) and VV have an instant familiarity, sounding like old classics that you haven't heard in a while.

Warm, nostalgic, rocking and powerful - this is the ghost of Fleetwood Mac, channeled through the Pacific Northwest with magnificent success.

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15th Aug 2009 - 1 comments - Add Comment - Tweet

Cosmos

Jar Of Jam Ton Of Bricks

Happy Jack Rock

By the time you’ve read this short review, there’s every chance that Robert Pollard has released another album under one of his various monickers, such is the prolific nature of the 52 year old Ohio native. Regular Pollard-watchers will not be (overly) disappointed with the new Cosmos project - Jar of Jam Ton of Bricks is a mixed bag of quirks and curveballs with the immediately recognisable and strangely comforting voice of Pollard (mostly) at the reigns.

Whether it’s stripped down acoustic (Don’t be A Shy Nurse, Zeppelin Commander), effortless piano-led pop (Nude Metropolis) or all out rockers (The Neighbourhood Trapeze, Westward Ho) it’s Pollard's voice and melodies, signing signature wildly imaginative/just plain odd lyrics that sits atop it all - holding it in place.That is until he hands over singing/song writing duties with Indie stalwart Richard Davies. The strongly-accented Australian steps up to the mic on four fragmented tracks, that sadly punture any momentum JoJToB threatens to build up.

That said, there’s enough here to keep Pollard fans happy until the next project , unless that next project has already been and gone of course.

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25th Jun 2009 - Add Comment - Tweet

90210

Pilot

E4

Still got a lot of residual affection lying around for the original adventures of the 90s Peach Pit kids, so it was pretty interesting to see where they're taking this new reboot of the teen soap. It's set in the same universe, with Kelly (Jennie Garth) now a high school counsellor and the big sister of one of the new kids prancing around West Beverly High's catwalks halls.

A lot has changed in teen TV since the dawn of 90210 1.0 - Dawson's, Freaks And Geeks, The OC and most recently Gossip Girl have all pushed the genre way beyond BH's Dallas Jnr aspirations. In its day it was pretty much the only show around to show teenagers apart from Neighbours - now we've got used to seeing amplified angst played out in style, with studied indie soundtracks, and click-here, buy-now fashion tips.

In place of the Brandon and Brenda Walsh good kids from the sticks dealing with the madness of LA, we've got the Wilson family moving from Kansas. Dad Wilson is the new school principal (oh no! that won't be a problem for the kids!); Mom Wilson doesn't get on with Grandma Wilson; Wilson Daughter had a fling with one of the LA hotties a few summers ago, and he's now turned into a bit of a playa; Wilson Son is adopted and plays lacrosse. 

Most of the fun in the first ep - apart from trying to work out if Jennie Garth really is Jennie Garth (where's that perky nose?!) - comes from watching the actors who are refugees from two chimp TV favourites. Jessica Walter seems to be replaying her excellent turn as Arrested Development's boozy matriarch Lucille Bluth, with her cocktails-for-breakfast grandma Tabitha Wilson. Even stranger to deal with is her adopted lacrosse-playing grandson - yes, it's corner kid Michael from The Wire (Tristan Wilds) - who somehow manages to refrain from popping a cap in anyone's ass, even when he gets well-bullied on the lacrosse field. Not a scenario that came up in Baltimore often. 

It's probably not quite trashy or smart enough to really carve out a niche of its own in the current teen TV world, but may hold interest for a stumble-across-it hangover viewing. Shannen Doherty (star of 90s things like the I Hate Brenda Newsletter) shows up around ep5, so that's got to be worth checking back for.

Bonus Triv: check this totally 90s Eddie Vedder v Shannen Doherty showdown

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#chimp71

1st Jan 2009 - Add Comment - Tweet

Underbelly

FX UK

Interesting spin on the suburban gangster story, looking at ten years in the life of an Australian mob family: think Neighbours meets the Sopranos. Lots of leisurewear, barbies, and E-pressing machines running all night in houses you could imagine Kath and Kim living next door to. 

With a high incidence of death for characters throughout the series, it's something of a hard sell - you don't know who's going to stay the distance, so you can't get as attached as we could with the Bada Bing crew. But after a few episodes it takes on its own flavour, showing the loose connections between the mobsters, and their volatile, casual flip between life and death. The cops chasing them emerge too - with a grizzly by-the-book chief (who likes to bake his own shortbread).

For fans of recent Aussie shows, the cast have been in everything from The Secret Life Of Us, Heartbreak High and yes, Home And Away and Neighbours...

When it was shown in Australia, some of the court cases involving the real gang members were still pending, so they banned it in the state of Victoria, which all sounds pretty unworkable. 

NIce to see FX - home of The Wire, Breaking Bad and Burn Notice etc - spreading their reach to bring us other shows worth watching from around the world. Can't help thinking they've really made the terrestrials in the UK look lazy in the last few years.

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#chimp71

10th Nov 2008 - Add Comment - Tweet

Recount

(dir. Jay Roach)

HBO Films/ More 4

Fantastic dissection of the madness of the 2000 US election, when the world was left trying to work out what a hanging chad was and why it was keeping Al Gore from becoming President.

Even though you know the outcome (Bush stole it, Iraq 2.0 kicked off, thousands of people died) it's hard not to be swept up by the Democrats determination to play it out fairly and get the votes recounted. There's so much guff and propaganda talked about "democracy" from freedom lovers like Bush, that when you see what it actually comes down to up close and in action (adults arguing over tiny bits of paper on confusing ballot papers and what indentations may or may not signify), it's hard not to be at the very least, a little cynical.

At the same time, it presents a pretty forensic examination of the Republican attitude, and shows just how they manage to get their worldview across so fervently, using an intoxicating combination of lies, coercion, legal wrangling and attacks to simply wear down the nation - effectively planting the argument that the recount process was simply going on too long, so Gore really had better acquiesce because everyone was getting bored of trying to figure it out. Madness, but totally inspired media logic.

With a cast that includes Kevin Spacey, Bob Balaban, Ed Begley, Jr., Laura Dern, John Hurt, Denis Leary, Bruce McGill and Tom Wilkinson this is a quality outing, pushing the story along with real-life news footage and reconstructions.

It's already been on in the US, More4 are showing it 9pm, Fri 3 Oct - just before the first Vice-Presidential debate.

For further insight into the inner workings of the modern republican dirty tricks machine, BBC Four are showing Boogie Man: The Lee Atwater Story in their Storyville strand in a few weeks time, another essential recent history lesson.

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#chimp71

29th Sep 2008 - Add Comment - Tweet

L7

Smell The Magic

Sub Pop

THEN: Sub Pop of 1990 was a very male led and largely Seattle based affair. That L7 were made up of four girls from Los Angeles is a good marker of the uncompromising nature of this band and their debut album Smell the Magic. The quartet who were definitely more Riot Grrrl than Girl Power, earned notoriety on these shores by dropping their trousers live on The Word or going one step further at the Reading Festival by throwing a used tampon into the crowd, along with the challenge "Eat my dead uterus!"

NOW: Sound charming don't they? But such 'fuck-you' antics were very much part of the appeal of the music coming out of Sub Pop at the time. Like a reincarnation of the Punk explosion that inspired many groups in the scene, it wasn't necessarily the music that mattered most - some distorted barchords and single fingered solos would work just fine - as long as it all came with plenty of anger and attitude. Released in a year when the eyes of the alternative world were all fixed on Sub Pop, Smell The Magic can make legitimate claim to being the archetypal 'Grunge' record, with album opener Shove as anthemic as any Touch Me I'm Sick or Teen Spirit. "My neighbours say I jam too loud. SHOVE! America thinks I should be proud. HUH!"

SUB POP SAYS: “L7 are a primal rock machine.”

KILLER TRACKS: Shove. Fast And Frightening

NEXT: 1991 - Mudhoney - Every Good Boy Deserves Fudge

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11th Aug 2008 - Add Comment - Tweet

House Of Saddam

BBC/HBO

Decent attempt to make some sense of the Saddam Hussein era, with a four-part drama that plays like the Sopranos with more sand. 

The cast includes Igal Naor (Rendition, Munich) as Saddam Hussein, Shohreh Aghdashloo (24, House Of Sand And Fog) as Saddam's wife Sajida, Philip Arditi (10 Days To War) as Saddam's oldest son Uday, Said Taghmaoui (Vantage Point, The Kite Runner, La Haine) as Saddam's half-brother Barzan Ibrahim, and Christine Stephen-Daly (Casualty, Cutting It) as Saddam's mistress Samira.

With occasional glimpses of the real Saddam in period news footage, you get a sense of what was going on behind the CNN image. LIke the Sopranos, or even the Corleones, life with someone like Saddam is like life in a volatile feudal court - you never know if you're about to be handed a great new job, or shot in cold blood to make a point. 

The history's handled well, taking us back to the roots of the first Gulf War and the first President Bush, before bringing us up to date by the final ep. Noar doesn't play him sympathetically, but does a good job of essaying his obvious charisma and showing the kind of drive he must have had to become President. Occasionally feels like they've perhaps made them all a little more eloquent than they might have been just to get some great lines in, but on the whole it's an intriguing, convincing portrait of one of the world's most recent political monsters.

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30th Jul 2008 - Add Comment - Tweet

Black Affair

Pleasure Pressure Point

V2

Steve Mason (Beta Band and King Biscuit Time) returns with an all-electro effort. Is it time to admit that the Beta Band were always really one of those bands that were amazing in theory but in practice never quite lived up to the idea of what they could have been? Still love how the 3 EPs managed to get across that sense of indie boys discovering house music and trying to combine elements of both on a 4-track, and King Biscuit Time's Walk The Earth is a great single, but listening to Pleasure Pressure Point it's hard to get beyond the image of that scene in Friends where Ross is mucking about with the presets on his keyboard and totally rocking out ("wow that was so... wow").

It's not that it's terrible, just a bit.... preset - the inspiring thing about the Beta Band was how they tried to get a housey sound out of guitars etc; here it's like he's just found all the minimal 80s electro settings and sung over them, in a deadly serious way. It's quite close to the territory plundered by Neon Neon, but lacks some of the wit that made that work. On the other hand, if you're feeling all roboto and Berlin-concrete this may be the album for you.

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23rd Jul 2008 - Add Comment - Tweet

Californication

(creator. Tom Kapinos)

Showtime

Showtime's recent attempts to catch up with HBO see them following up the success of Weeds and Dexter with the sordid tale of Los Angeles writer Hank Moody. After selling his hit introspective novel (only to see it turned into a Hollywood romcom), disillusioned writer Hank Moody is stuck in Los Angeles with writer's block. While his horny agent attempts to break the block, Hank also has to deal with seeing the love of his life marry another man, while their child learns guitar...

I never expected to see David Duchovny return to form, and certainly not as a degenerate character like Hank Moody. Snorting, punching and banging his way through the upper-middle-class low lives of Los Angeles, Duchovny has created a character almost as thoroughly debauched as Ari Gold - and just as entertaining. No limbo is too low for Hank, but between the glamour and the sleeze Californication packs a substantial punch. Hank's relentless attempts to get his life in order is something many of us can relate to, with a solid dose of house envy thrown in for good measure.

Buy the DVD, give it a couple of episodes to get you hooked and stay on board for the most surprising lifestyle-envy show since Entourage.

#TV
#CSF

4th Jul 2008 - 1 comments - Add Comment - Tweet

Criminal Justice

(dir. Otto Bathurst, Luke Watson)

BBC

Excellent thriller running over five consecutive nights on BBC1 (Mon 30 Jun - Fri 4 Jul) that manages to combine elements of prison, police and the legal system to bring a 360 sense of what it's like to be thrust into a murder trial. 

Ben Whishaw (Perfume, Nathan Barley) wakes up after a wild night to find there's blood on his hands (literally), panics, and then finds himself the prime suspect in a gory murder. 

What's great here is that each episode shows the experience from as many different perspectives and in as many arenas as possible. We get the full-on Oz-like terror of suddenly finding yourself in a British prison, not knowing who to trust or make deals with. There's the confusion of being grilled by the police while your brief is advising you to offer "no comment" to everything, even though you just want to explain yourself. There's the frustration of the arcane legal system, making deals behind the scenes, playing a dangerous game of oneupmanship in court. The tension of his parents who don't quite know what to believe. The desperate loneliness of a suspect who can't even fully trust himself because he simply can't remember what happened.

The top-notch cast includes Pete Postlethwaite, David Harewood, Bill Paterson, Con O'Neill and Lindsay Duncan.

Not sure how it's going to do in this format - five straight nights is probably no more commitment than catching Big Brother every night, but it's worth setting the Sky+ for or iPlayering (is that a verb yet?) it all - you shouldn't miss any of this. 

#TV
#chimp71

27th Jun 2008 - Add Comment - Tweet

Flight Of The Conchords

Flight Of The Conchords

Sub Pop

The novelty comedy record is a tricky path to tread. It's fun on your initial saunter, then maybe again with a friend it might still hold some of the same appeal, but soon after these initial promenades, this little path will rarely be trodden again. This can't, however, be said for Sub Pop's most genius release to date. The HBO series Flight Of The Conchords told the story of 2 musicians from New Zealand, Bret McKenzie and Jemaine Clement who, with the (mis)guidance of their agent Murray, go to New York to try and make it big. In the all too short half hour episodes they usually treated us to a couple of songs that really had little to do with the plot but were a sheer joy to behold. Dealing with such complex themes as ATM charges, racist fruit sellers or supernatural visits from bygone era David Bowie, the songs took on a myriad of musical genres and were never short of hilarious. Knowing that the songs came first and HBO built the series around their narrative makes this album even more valid and having just completed my 27th listen it's still as sharp as ever.

Not only is the comedy album a tough gig, but to take these songs out of the context in which they were originally experienced (i.e. the elaborate fantasy settings Bret and Jermain found themselves in in their made-up rock n roll success story), really puts their audio comedy to the test. The result is a deeper appreciation of their writing. Each song is so loaded with gags that in this format one is able to marvel at nugget after nugget of well crafted comedy. Hiphoppopotamus Vs. Rhymenoceros was an early favorite on the show and it retains its title here. With lines like Jemaine's "Yeah sometimes my lyrics are sexist but you lovely bitches and hoes should know I'm trying to correct this." and when, after Bret's statement, "other rappers diss me, saying my rhymes are sissy, why? Why? " Jemaine interjects, " be more constructive with your feedback," you start to marvel at how these two white Kiwis manage to totally ridicule a whole hip hop genre so charmingly. Other highlights include Jemaine, on Think About It, pondering the state of the world where slave kids are forced to make sneakers but the sneakers don't seem to get any cheaper, exclaiming at the top of his voice: "What are your overheads?" or the binary solo on the fabulous Robots. It's hard to pick a favorite but Business Time hits the spot every time. The phrase for letting your lover know when it's time to make "sweet weekly love" must soon find its way into the dictionary, and after making enough love for two... minutes what better way to end it than to tell your partner "business hours are over baby." 

The problem I've found with this isn't its lack of repeated listen appeal but its potential to ruin just about every genre of music there is. Its spot-on parodies and razor-sharp observations will serve as a kiss of death to the afore mentioned hip-hop genre, Serge Gainsbourg, Dance Hall Ragga, Kraftwerk, The Pet Shop Boys and most certainly David Bowie. Since the TV show I've found it hard to listen to the final minute of Radiohead's Down Is The New Up, due to its striking similarities to these guys. But the destruction and ridicule of pop history is a small price to pay, so I urge you all to succumb to Bret and Jemaine's "groovitational pull" and check this out.

#Music
#BC

1st May 2008 - 2 comments - Add Comment - Tweet

The Wire

Season Five

HBO

sheeeeeeeeeeeeeeeeeeeeeeeeit it's good

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15th Apr 2008 - Add Comment - Tweet

Be Kind Rewind

Dir Michel Gondry

Partizan

Highly enjoyable homage to the joys of hanging out in a video store from general genius Michel Gondry. Mos Def plays the Be Kind Rewind employee left in charge when store owner Danny Glover heads off on a mission to work out why no-one's coming to their shop anymore (clue: errr, they don't stock DVDs). Jack Black is his goof-off friend working in a junk yard in the neighbourhood and generally causing trouble. Without giving too much away, all the tapes in the shop get wiped, so they start shooting their own versions  of films like Driving Miss Daisy, Ghostbusters and Robocop to rent out to customers like Mia Farrow instead. These "Sweded" re-workings take off and it plays out from there...

It's a great excuse for Gondry to make the most of his imaginative lo-fi powers - the films are pretty sloppy, but totally charming - reminds you of the days when you'd get a video camera and just start shooting any old stuff, in order, without editing. Def and Black make a cool double act, it's fun seeing Mia Farrow in something daft again, and there's even room for a Kid Creole cameo. Once they get going, there's a brilliant montage zipping through their new films in classic Gondry style, flowing from one to the next - would love to know if it was all done in one take or not - kind of think it's the sort of thing he'd at least attempt just to see if it could be done.

Marking this one on a Gondry scale:  The Science Of Sleep was an easy **** and Eternal Sunshine stands up as a full ***** experience.  Be Kind Rewind is a smaller film in some ways, even though it's got a bigger cast. It's still totally enjoyable, but more like one of Graham Green's "entertainments" - a fun work that's still got a lot of heart and is saying something (communities falling apart/ big business taking over everything/ change/ friendship/ how good Robocop is) - but is basically more about the fun of making and watching it. For me, Science and Sunshine packed in a real emotional depth with the inventive camerawork and goofy plots - to say this isn't quite up there isn't to diss it, just to acknowledge how outstanding those two are. Can't wait to see what he comes up with next.

Almost made me miss all the hundreds of VHS tapes I've chucked out freecycled over the years.

#Film
#chimp71

19th Jan 2008 - 1 comments - Add Comment - Tweet