See Matthew’s and Erin’s HALLOWEEN MOVIE SUGGESTIONS on Matthew’s page.  And have a wonderful, happy, safe Halloween!!!!!

Remember, if you’d like to leave a comment, double-click on the title above the photo and a blank box will open up below the review. Write your comments there. All comments are appreciated and welcomed! Donna

And, Happy Halloween everyone!  

This movie, Law Abiding Citizen, held my attention and was an O.K. movie. I think it could have been much better. At its core, the movie is about grief. Grief sustained from witnessing your wife and daughter murdered. And revenge. But, it goes over the top and loses its credibility with some of the gore. I had to squint my eyes quite a bit through this movie.

In a home invasion in Philadelphia, two violent thugs break into Clyde Shelton’s (Gerard Butler) home to rob it and stabs him. Then, Shelton witnesses one of the men raping and killing his wife (Brooke Stacy Mills) and daughter (Ksenia Hulayev). When the 2 guys are captured, Clyde is upset when a very hot-shot District Attorney, Nick Rice (Jamie Foxx) makes a special “plea bargain” with the main attacker, Clarence Darby (Christian Stolte) who is slimy and deranged. Darby is the one who actually raped and murdered his family. The other guy looked on helplessly. But, Darby testifies against him and thus, a plea bargain is created. Nick (Jamie) is only concerned with getting a conviction. He does not take into account whether it is the “right thing or not.” Leslie Bibb does a great job as Sarah Lowell, Nick’s Assistant and even poses some moral questions for the viewer.

Flash forward ten years. Clarence Darby (Stolte) has been out of jail for a number of years, and the other attacker is scheduled for the Death Penalty via lethal injection. But suddenly, the injection goes wrong and the authorities realize someone has tampered with the equipment.

Then, they discover that the man who got away with murder is found dead and Clyde Shelton coolly admits his guilt. Then he issues a warning to Nick: Either fix the flawed justice system that failed his family, or key players in the trial will die.

Of course, anyone would empathize with Clyde. He wants justice and when he doesn’t get it from the system, he wants revenge on everyone involved. I wanted to root for Clyde. But, he turns his love for his family into something that’s ugly and perverted and totally sociopathic. I don’t think it’s realistic. I can understand a man (or anyone) being highly upset about their family being murdered. But, to wreak havoc on innocent people just to get your point across seems deranged and futile. Clyde definitely goes “over the edge.” The movie tried to have a conscience, but failed miserably and instead, just ended up being a horror type of movie.  

Screenwriter Kurt Wimmer (Sphere) has the characters deliver speeches while setting up Clyde’s gruesome revenge fantasies, and then director F. Gary Gray drains every bit of tension from those sequences. This cycle is repeated with events becoming more ludicrous until the movie’s illogical finale. It didn’t have a good ending. It felt like it was pointless. I kept hoping for this Clyde character to have an epiphany – an enlightenment, but he didn’t. We saw a little bit of an evolution – an enlightenment – in Jamie Foxx’s character – but, it was very slight.

To me, all movies should have the characters move toward growth, development, and awakening. But, this movie was more about dreaming up gory ways to kill innocent people all in the name of revenge.

If this kind of movie appeals to you, then go see it. I won’t give away the plot in case you go and see it. As I said, it held my attention. I kept hoping it would get better. I was curious to see how it would end. But, the ending left me disappointed and unfulfilled. What a waste. With such great actors as Jamie Foxx and Gerard Butler, a well-written script could have turned this movie into one of the greats. Instead, it was illogical and not-true-to human nature.

Don’t forget that you can leave a comment by double-clicking on the title above the picture.  A blank box will open below the review. Please leave your comments and reviews. I enjoy reading them. Donna

This movie was O.K. It was entertaining, but confusing. That’s probably because it was created from three books of Darren Shan’s popular, young adult, comic-gothic novels. There was simply too much to be crammed into one movie.  It wandered down roads that never led anywhere and it created questions with no answers. Shan’s books are vampire-centric and include a complete 12-book saga, Cirque du Freak. As a result, the movie, Cirque du Freak: The Vampire’s Assistant seemed to leave out a lot of important information and at the end, we were left with many questions and quite a bit of confusion. It could have been so much better if the script had been better. The book was adapted by Paul Weitz (who directed the film and wrote the script with Brian Helgeland.) Weitz, who also directed About a Boy starring Hugh Grant, and Helgeland, definitely needed some help.  The directing was awkward, infusing the action with jarring cuts and transitions that only served to amplify the holes in the narrative.

Darren (Holes’ Chris Massoglia) is a teenager who is a good student, but is a bit of a nerd.  His parents are loving, but strict. His best friend is bad-boy Steve (Josh Hutcherson) who has an alcoholic mother and an absent father. Steve’s a class-cutting, vandalizing punk who leads Darren away from “the path to a happy, productive life,” or so Darren’s parents warn.

One night, a strange Euro-limo passes through town and drops off flyers for “The World’s Greatest Freak Show.” Steve insists they should go and together, he and Darren sneak out of their homes and ride their bicycles to the one night event. Steve recognizes Larten Crepsley (John C. Reilly) from his vampire books and is anxious to escape his miserable life by joining the undead. (Larten is the emcee of the freak show.) But the guy whose “destiny” it is to join the vampires in their war with the murderous Vampanese is Darren.

The teens find themselves in the middle of a long-running conflict between rival factions of the undead: the eccentric, but basically good Vampires who feed off humans, but don’t kill them, and the diabolical Vampaneze who kill humans when they feed. It is never explained why the Vampanese and Vampires don’t get along. Needless to say, the two teenage boys enter a world whose inhabitants are quirky and freaky, thus, the Cirque du Freak.

At the circus, whose connection to the whole Vampire-versus-Vampaneze imbroglio is never entirely clear, Darren finds a squad of human oddities, including a bearded lady (Salma Hayek), a fellow with two stomachs (Frankie Faison), an indie-rock snake boy (Patrick Fugit) and a potential sweetheart with the tail of a monkey (Jessica Carlson).  The enigmatic fellow and vampire named Larten Crepsley, is played wonderfully by John C. Reilly. He is the best thing about this movie. He was great and the reason I didn’t leave in the middle of it. He made every scene believable.  

One of Crepsley’s fellow Vampires, Gavner Purl, is played by Willem Dafoe, whose hollow cheeks and funereal voice give him instant credibility. Also on hand is Michael Cerveris, the brilliant stage actor (“Tommy,” the recent Broadway revival of “Sweeney Todd”), who plays Mr. Tiny, a porcine provocateur who entices Darren’s best friend, Steve over to the “other side” – the Vampaneze in his quest to stir up trouble in the underworld.

To summarize: Darren is invited to become a half-vampire and Larten’s assistant, which he does, much to the anger of his best friend, Steve, who was denied the privilege because he had bad blood. Crepsley becomes Darren’s mentor and the adventures begin.  

There were many great actors in this movie who didn’t have much to do including Willem Dafoe, Orlando Jones, Salma Hayek, and Jane Krakowski (of 30 Rock fame.) Hayek is entertaining as a lady with big boobs and a full beard that grows at various times.

There is no way this movie can be compared to the Twilight Saga or Harry Potter movies. No way. It doesn’t even come close. And, I was hoping it would.

Coincidentally enough, Paul Weitz’s brother and frequent collaborator, Chris, directed the second installment of the Twilight movies, New Moon, which opens November 20^th.  Let’s hope Chris did a better job.

As I said earlier, it’s not bad. It’s O.K. Mildly entertaining. But, it could have been so much better. Darn. And if you think this review was a bit confusing, then you’ll understand just how confusing the movie really is.

Remember: To leave a comment, double-click on the title above and a blank box will appear underneath this review. All comments are welcome and appreciated! Thanks so much! Donna

I enjoyed this movie. It is tender, lush and wonderful. The Boys Are Back was adapted from a memoir of the same name by Simon Carr, a funny and affecting book.  The movie is inspired by a true story and takes a close look at grief and single parenthood from the father’s viewpoint. I think it does an excellent job. Filmed on location in southern Australia’s Fleurieu Peninsula and England, the cinematography is beautiful – windswept-golden fields, rolling hillsides, sun-glistening seashores. (Thank you for another visual masterpiece, Greig Fraser!) The movie makes you think. It makes you feel.

Directed by Oscar winner Scott Hicks (Shine), The Boys Are Back examines the differences between mothers and fathers as sole caregivers. The script is by the television writer, Allan Cubitt and I think he did a great job. The movie is slow-paced and deliberate, wanting the viewer to actually feel the emotions and not just view the movie as an objective passerby.  I thought it was effective. The movie was so real, it felt as though I was glimpsing into the private heart of someone who had recently lost a loved one.

Clive Owen plays Joe Warr, a British transplant who has a job as a sportswriters in his adopted homeland of Australia. Joe moved from England to Australia to be with his second wife, Katy (Laura Fraser), an equestrienne he impregnated while she was at a match in England and while he was married to his first wife (Natasha Little). He had a son with her, Harry (George MacKay, the youngest Bielski brother in the excellent movie, Defiance. He also looks remarkably like Rupert Grint/Ron Weasley). Joe  had a son with his second wife, Artie (Nicholas McAnulty).  When Artie is 7 years old, Katy dies of cancer and Joe is left to raise Artie on his own, which is a challenge since he has a demanding job as a sportswriter who has to travel to different cities and countries. Then, to complicate matters more, his teenage son, Harry, decides to come from England and spend some time with him in Australia. There starts the journey of grief and healing for all 3 of the “boys.”

Joe lives in a wonderful rambling house in the countryside near Melbourne. He’s a dad who doesn’t have many rules and calls their home “Hog Heaven.” Dishes are piled high in the sink, pizza boxes are strewn everywhere, and little Artie pretty much does what he wants. By the way, this is Nicholas McAnulty’s first role as Artie and he is brilliant. He is so believable, you forget that he’s an actor. He stole every scene he was in.

For Joe, grieving and left alone to care for young Artie, he rarely says no. His older teenage son, Harry, becomes a big brother to Artie when he arrives and the three of them have awkward, loving and “boy fun” moments together while Joe and Artie are mourning and all three of them are trying to learn what each other’s role in the family is.  Joe’s good intentions of being “one of the boys” sometimes backfire and cause problems for him, his boys and the local school moms who view Joe’s parenting as dangerously unorthodox.

Katy’s mother, Barbara (Julia Blake), disapproves of Joe and wants to take Artie to live with her.  (Emma Booth), the mother of a schoolmate of Artie’s, at first seems more sympathetic to this handsome, sad dad, and maybe even willing to sleep with him. But Laura too proves wanting when she fails to embrace Joe’s “just say yes” parental philosophy and also to meet his every household and child-care need. As for the first wife back in England (Natasha Little), her coldness is shown to be far worse for Harry than her ex-husband’s wanton irresponsibility is.

Another influence inserts itself into the Warr bachelor household when a neighbor lady enters the picture. Laura (lovely Emma Booth), is a single mom who Joe meets at Artie’s school. She becomes very helpful and babysits Artie when needed. It seems she wants something more from the relationship – something that Joe really isn’t able to give. When Joe goes off to Melbourne to cover a tennis match and springs it on Laura at the last minute, she declines to act as nanny and housekeeper. Fifteen year old Harry promises to take care of both seven year old Artie and the property while Joe does his sports coverage thing for a couple of days. Which doesn’t turn out all that well. This begins the dramatic tension of the film, as Harry leaves to go back to England, and Joe and Artie go after him, to try to convince him to come back to Australia.  

Owen doesn’t get many tender roles like this. I thought he was wonderful and displays more range and humanity than ever before, while the two boys are genuine and heartfelt. I felt the pain and bewilderment in all the characters’ actions when things didn’t go right.

The film’s ethereal soundtrack by Iceland’s Sigur Rós is a melancholy yet lovely accompaniment consisting of classical guitar and haunting melodies.

I definitely recommend seeing this film. It’s beautiful.

Matthew and Erin

Remember: If you’d like to write a comment, double-click on the title above the picture and a blank box will appear at the end of the review. You can write your comments there. All comments are welcomed and appreciated. Thank you very much! Donna

This movie is written in the language of children. It is visualized and shot in the language of children. And it is profoundly beautiful. Where the Wild Things Are is a breathtaking vision of the artistic landscape of imagination. It speaks to us of other worlds, other heavens, other spaces in time. But, its message is simple.

From Maurice Sendak’s beloved picture book about a spirited little boy named Max and the kingdom of wild creatures who adopt him as their like-minded king, filmmaker Spike Jonze has made a movie that is true to Sendak’s unique sensibilities and simultaneously true to Jonze’s own unique, “freefall” vision where there are no boundaries and no creative restraints. This is, to quote the 1963 children’s classic, ”The most wild thing of all.”  This movie is for everyone – children and adults. Children will relate to it and adults will revisit their inner child and “remember.”  

Dave Eggers and Spike Jonze wrote the screenplay, transforming the 338-word story of Where the Wild Things Are into a 111-page script. The story is filled with richly imagined relationships in which Max takes his personal life into the wild and transports those very relationships onto the wild ones. Overall, this book is about a lonely little boy who is a misfit in his own rich, imaginative world. 

Max Records plays Max, the hero of Wild Things, an 8-year-old with an absent father, an older sister who’s absorbed with her teenage friends, a mother whose personal life and job concerns leave her little time or energy for the rambunctious boy she dearly loves. Max is an adorable little boy and he is wonderful in this role. Catherine Keener stars as his sensitive mom and Mark Ruffalo has a tiny part as her boyfriend. But, they’re only the sideline characters. It’s Max and his world of “wild things” that are the stars.

When Max feels like his world has failed him, he has a temper tantrum and runs away, climbs aboard a makeshift sailboat, and drifts away to the island of the Wild Things. There, he meets these wonderful mammoth creatures with very ordinary names like Carol, Alexander and KW who decide not to eat Max when they learn he is a king. Carol is played wonderfully by James Gandolfini in a very vulnerable role; Catherine O’Hara plays Judith, the negative one in the group, who really is just insecure and looking for love, and big ole Ira is played (voiced) by Forest Whitaker. Paul Dano and Chris Cooper are also featured as well as Lauren Ambrose – the voice of KW.

In their gorgeous landscape of dunes, jungle, and enigmatic structures that are as graceful as Noguchi sculptures (the production designer is K.K. Barrett), Max’s new friends show him the way home to a new self.  On the way, you’ll find yourself examining your own dreams and relationships in life.

The “wild things” proceed to have big adventures – dirt clod fights, fort-building, and walking through gorgeous landscapes of sand, dunes, sun-drenched fields and woods and flowers. The cinematography is breathtaking.

I don’t want to tell you too much about this movie. Each scene, each moment, each surprise, is a treasure in itself.  If you’ve read the book, then you have a sense of what it’s about. The music, by Karen O and Carter Burwell, is haunting and gorgeous.

To recap: This movie is breathtaking. Other-worldly. It is for all ages. It is an adventure of exploring your inner worlds and connecting to your outer world on a new, higher, more aware level. Meanwhile, it doesn’t hurt to visit and play with the “wild things” now and then. Go see it now. Everyone.

NOTE: If you’d like to leave a comment/critique, please double-click on title above the top photo and a blank box will appear under my review. You may write your comment there. All comments and opinions are welcome and appreciated. Thanks so much! Donna

I LOVED THIS MOVIE!  Watching Bright Star, was like watching a sonnet unfold lavishly and luxuriously on the screen. It was beautifully filmed. Breathtaking. Written and directed by New Zealander, Jane Campion, it was masterful. The way she portrayed the romance between the poet John Keats and his neighbor, Fanny Brawne was exquisite. By the way, Campion remains the only female director to win the Palme d’Or at Cannes, an honor she achieved with The Piano in 1993.

Bright Star moves at a slow, soft rhythm that is deliberate. It gives you time to feel the characters’ emotions and to share in the process of falling in love. It gives you time to smell the purple heather that blankets the fields in the springtime and to feel the snow falling on your face in the winter. As I mentioned, the cinematography is exquisite. Breathtaking. (Thank you, cinematographer Greig Fraser!) Some of these images – narrow, cramped doorways, views from a room out a window into a field of luscious trees or falling snow, a butterfly flapping its wings in a glass jar, a breeze blowing through a billowing curtain to Fanny lying on her bed – create an overwhelming sense of emotion, as does the recitation of Keats’s imploring, yearning love letters to Fanny.

Based on a true story, this is the tale of the slow-burning love affair between John Keats and Fanny Brawne in 1818, which was halted when Keats succumbed to tuberculosis.  Australian actress, Abbie Cornish, plays Fanny Brawne in what could well be a career-defining role. She shoulders the story’s dramatic burden and she is fantastic. As Fanny Brawne, she is practical, grounded and forthright, and is initially more interested in sewing and high fashion than poetry – by Keats or anyone else. But gradually she becomes intrigued by him.

As Keats, Ben Whishaw certainly looks the part: pale, intense and very thin. Yet, he adds humor and a pleasant personality to the character, which makes the poet more rounded than a one-dimensional Romantic stereotype.

The film chronicles their relationship from start to finish: from 1818, when they were neighbors near Hampstead Heath, to his final departure from Britain to convalesce in Rome, Italy’s warm climate more than two years later.

At Hampstead Heath, Fanny lives with her widowed mother, Mrs. Brawne (Kerry Fox), and her well-behaved younger siblings Samuel (Thomas Brodie Sangster) and Margaret, known as Toots, (Edie Martin), who was absolutely adorable with her red curly hair and freckles.

Fanny’s place in society takes them to social events and balls where Fanny’s dance-card is always filled, although the glamorous Keats prefers not to dance. She has made a name, and money, for herself as a skilled maker of fashionable clothes, although the best friend of the coveted Keats, a burly writer named Brown (Paul Schneider), dismisses her as “the very well-stitched Miss Brawne.”

Fastidious and proud, Fanny feuds with Brown, who is over-protective of his genius friend, but she sends Toots, her little sister, to buy a copy of the poet’s latest collection, to see, as the child says, “if he’s an idiot or not.”

Once they fall in love, Cornish and Whishaw recite bits of Keats’s poetry throughout the movie which adds a romantic overture to the overall pace. The romance takes place in a formal environment, which was typical of the 1800s in England. Intimacy relied on kissed love letters and briefly touched hands. The way it was filmed made the intimacy more vital, with depth and emotion that’s often missing in the 21^st century. (When did you last receive a handwritten love letter or get the shivers when someone brushed your hand in the hallway?)  

The England depicted in the film is the one people are thinking of when they say they wish they were born during the time of the romantic poets. Only one scene in the picture shows the ugly underbelly of poverty in 1880s London, and for the rest it’s all picturesque houses and gorgeous gardens in Hampstead Village.

The entire cast is brilliant and Mark Bradshaw’s elegant score is pleasingly delicate.

You must see it. It will take your breath away.

Bright Star

Bright star, would I were steadfast as thou art–
Not in lone splendor hung aloft the night
And watching, with eternal lids apart,
Like nature’s patient, sleepless Eremite,
The moving waters at their priest-like task
Of pure ablution round earth’s-human shores,
Or gazing on the new soft-fallen mask
Of snow upon the mountains and the moors–
No–yet still steadfast, still unchangeable,
Pillow’d upon my fair love’s ripening breast,
To feel for ever its soft fall and swell,
Awake for ever in a sweet unrest,
Still, still to hear her tender-taken breath,
And so live ever–or else swoon to death.

John Keats

Note: Born in 1795, Keats published three books of poetry in his lifetime but was dismissed as a middle-class interloper by most critics.  He had no advantages of birth, wealth or education; he lost his parents in childhood, watched one brother die of tuberculosis and the other emigrate to America.  Poverty kept him from marrying the woman he loved.  And he achieved lasting fame only after his early death in 1821.  Yet grief and hardship never destroyed his passionate commitment to poetry.

NOTE: If you’d like to leave a comment/review, please double-click on the title above and an empty box will open up at the bottom of my review. You can write whatever you want in this space. I welcome all opinions and comments. Thanks so much! Donna

Capitalism: A Love Story is an excellent documentary. I know there are people who don’t like Michael Moore’s work, but this film is so important, I urge everyone to go and see it. Especially the young adults. They need to know what they’re inheriting when they go “out in the world” to begin their careers and families.

Barely a year after the Wall Street meltdown, Capitalism: A Love Story examines, in typical “in your face” Moore fashion, the causes of the collapse of the century. He begins the documentary with a commentary on Rome, Italy, the greatest city and country on earth at one time. We all know from our history books that it collapsed. And now, in the 21^st century, we’re witnessing the collapse of another “greatest country on earth.”

Moore’s documentary is spot-on. While another documentary, Leslie Cockburn’s American Casino, does a better job with the questions surrounding massive housing foreclosures, Moore’s film, aided by strong statements from Rep. Marcy Kaptur (D-Ohio), raises questions about the nature of the multibillion-dollar government bailout.

Michael Moore describes the ills of American society that he’s chronicled for more than 20 years and investigates an out-of-control free-market system he so detests that he puts priests on camera to talk about capitalism as morally evil. Don’t get me wrong. I believe in capitalism – free enterprise. But, there needs to be a balance in all things. And Moore shows just how unbalanced it has become.

Early on, Moore, who narrates the movie in his trademark tone of bedtime-fairy-tale sarcasm, creates a memorable montage of the ’50s and ’60s, taking us back to a more secure and, in some ways, egalitarian America. For Moore, the transformative moment was the election of Ronald Reagan in 1980. Capitalism: A Love Story is most potent when it shows us what the financial desperation and ruthless corporate squeezing that descended from that era now look like. There’s an astonishing section about companies that take out life-insurance policies on their employees, profiting from their deaths, and Moore squeezes a great deal of symbolic mileage out of the fact that airline pilots have been reduced to beleaguered wage slaves who routinely make less than $20,000 a year. Then there’s the federal government’s $700 billion bank bailout, which for Moore is a conspiracy, an officially sanctioned robbery. A Master Plan that worked.

This was a huge subject to tackle, but Jon Stewart does it every day in his own way on The Daily Show, and Moore does it in his own way through his films. The main point Moore wants to make, the thing that drives him craziest, is his notion that capitalism, far from being a system that rewards excellence, is a scheme set up to make a profit on absolutely anything. He fears it has in recent decades turned American society into a culture that says money is the only value there is, and he has a number of cases he uses to make his point.

These include: A focus on the scandal surrounding a for-profit juvenile detention center in Wilkes-Barre, Pa., in which two judges got millions of dollars in kickbacks from the owners for sending more than a thousand juveniles to the establishment. Mind you, many of these “juveniles” are not delinquents at all. Instead, they’re kids who do things like put up MySpace pages making fun of their high school principal. The result: they end up in a Child Care home – a type of prison.

The highlighting of the congressional testimony of Chesley B. “Sully” Sullenberger III, the U.S. Airway’s pilot who miraculously landed his plane on New York’s Hudson River, who told legislators that his pay has been cut 40% in recent years and his pension terminated.

The strategy of major firms to take out life insurance policies on their employees — known in the trade as “dead peasant insurance” — that pays off to the companies, not to the employees’ survivors. Companies that have been doing this include Walmart, Bank of America and more. I found this quite shocking and doubt if many people know this. What it boiled down to is the fact that most employees are worth more “dead” to a company than alive.

Moore has not lost his zest for confrontational antics, which are often hilarious. He asks New York financial workers to explain derivatives, (no one can), drives an armored car up to AIG corporate headquarters and demands the company return federal bailout funds, and even surrounds all of Wall Street with yellow “crime scene” tape to emphasize his low opinion of the area’s activities. Moore retains the instincts of a shrewd stand-up comedian, wearing the astonished, baffled looks when he is lost for words.  

Moore also focuses on his own personal life. It was touching and you can clearly feel his passion for his hometown of Flint, Michigan. He talks about how, inspired by Daniel Berrigan, he wanted to be an activist priest, and he walks with his dad around the site of the former AC spark plug plant in Flint, Mich., — now a vacant lot — where his father spent satisfying decades as a union-protected assembly-line worker.

In Capitalism, there are two Americas, and most of us are living in the one that routinely gets the short end of the stick. The reason, according to Capitalism is that the other America – the one in which the bulk of the country’s wealth is owned by the richest one percent of Americans – is so firmly committed to hanging on to what they’ve got and getting more. Because, since the Reagan years, Republicans continue to foment the idea that poverty is a flaw of character, rather than a product of social forces, often beyond an individual’s control. Capitalism points fingers in a variety of directions, starting with the Reagan and Bush administrations, which did so much to deregulate and destabilize our economy in the name of the free market. He offers hilarious examples – well, hilarious but painful – of how the joys of capitalism have been fetishized over the years.

To recap: Go and see this documentary. Everyone.

WATCHMEN

Great movie, definitely worth seeing, it’s a wonderful action/investigation that portrays superheroes in a much more realistic light: that of awkward, and usually crazy personalities. There is no real difference between them and the villains, they all have serious psychological problems, as they seem to be more superhero than actual human.

41/2 Stars (Out of 5)

Matthew Peerce, College Student, Age 19