The Best Films of 2014

Scarlett Johansson in Under the Skin

 

Of the 350+ films I saw this year, these are the best ones. Some of them were released last year and I’ve been a bit slow getting round to them. Some of them were released even longer ago. The criteria are – I watched them in 2014 and I liked them. That’s it.

 

 

 

The Best

 

Computer Chess (2013, dir: Andrew Bujalski)

Andrew Bujalski, inventor of mumblecore, proved there’s life in the old beast yet with this retro-verité drama about geeks meeting in the 1980s to pit their programs against a chess-playing computer. Shooting on original video cameras in fuzzy-edged boxellated black and white, Bujalski catches the moment when the let-it-all-hang-out era died and our brighter, geekier world was born.

 

In a World… (2013, dir: Lake Bell)

A comedy of modern manners strung onto a plot about voice artists vying for the throne of the newly dead king of the hill. The savviest, screwballiest Hollywood comedy in years came from left-field, from writer/director/star Lake Bell, playing the daughter of a famous voiceover artist trying to get out from under dad’s reputation. It’s sentimental in all the right ways too.

 

The Canyons (2013, dir: Paul Schrader)

The sensational Lindsay Lohan’s “right, I’m back” movie is also Paul Schrader’s best for decades, a turning over of the paving slab to see what low-lifes slither about beneath. It’s The Canyons, not The Hills, so don’t expect Hollywood to come out smelling of anything but bad drugs, mercenary sex and broken dreams.

 

Stranger by the Lake (2013, Alain Guiraudie)

Don’t watch if you can’t take the sight of gay male sex. If you can you get a remarkable French drama about a killer at large on a nudist beach where homosexual omerta guarantees him a free ride, in any way he fancies. It’s beautifully composed, dramatically as taut as you like and even the soundscape is a thing of wonder.

 

Under the Skin (2013, dir: Jonathan Glazer)

How odd that Scarlett Johansson suddenly cornered the female sci-fi market (with this, the Avengers movies, Her and Lucy). This is the best of the bunch, with ScarJo playing a killer (in every sense) alien who cruises round Glasgow, Scotland, enticing men into her white van and then taking them back to her lair. Shot painstakingly with real, unsuspecting Glaswegians picked up off the street playing the dupes, it’s a triumphant return to movies for writer/director Jonathan (Sexy Beast) Glazer.

 

Of Horses and Men (2013, dir: Benedikt Erlingsson)

There are scenes in this elemental Icelandic movie that you will never have seen before, some hilarious, others just jaw-droppingly wha? It’s a unique rural drama that seems to suggest that people are at their happiest and least stressed when they behave most like animals. Watch that young woman swish her tail when the visiting Spaniard shakes his mane. Brilliant.

 

Norte, The End of History (2013, dir: Lav Diaz)

A four hour epic shot in long continuous beautifully framed takes, about a rich young law student and the poor street-pedlar woman whose life he affects maximally without even realising what he’s done. Wait two hours for the first “what the hell just happened” moment, and then another 90 minutes for the second, while a new (to me) master Lav Diaz casts his spell.

 

 

Only Lovers Left Alive (2013, dir: Jim Jarmusch)

If you were going to cast the supercoolest vampire film ever, you’d want Tilda Swinton and Tom Hiddleston in it. And you’d want Jim Jarmusch to direct it, wouldn’t you? That’s exactly what you get with this aching paean to immortal hipsterism shot in crumbling Detroit and labyrinthine old Tangier. No one ever says “I feel so very very tired,” as they do in cornier movies, but that’s the spirit. Plus jokes, hipster jokes.

 

 

Goodbye to Language (2014, dir: Jean-Luc Godard)

At one level Jean-Luc Godard’s boy-meets-girl drama of collaged visual styles and overlapping dialogue looks like the result of using every preset on Final Cut Pro software; at another it’s a brilliant exercise in trying to reformulate film syntax. Genius.

 

Edge of Tomorrow (2014, dir: Doug Liman)

Tom Cruise as a soldier repeatedly being killed, each time back to life a little bit tougher, sharper, wiser in Doug Liman’s sci-fi extravaganza that looks, feels, smells like something Arnold Schwarzenegger would have graced in the 1980s.

 

Welcome to New York (2014, dir: Abel Ferrara)

Abel Ferrara’s drama about/not about Dominic Strauss Khan and his sexual escapades in New York looks like it was shot entirely on one camera, stars Gérard Depardieu and Jacqueline Bisset and suggests obliquely that the people who run the planet are sociopaths.

 

 

 

 

 

Honourable mentions

 

Gary Bond sinks a beer in Wake in Fright
Gary Bond sinks a beer in Wake in Fright

 

Wake in Fright (1971, dir: Ted Kotcheff)

A restored 1971 Australian classic about a nice schoolteacher having a wild weekend of up-close Ocker masculinity out in the Outback of the Outback.

 

Blue Is the Warmest Colour (2013, dir: Abdellatif Kechiche)

Lesbian sex was its big sell but it’s the acting that’s the thing in this slow (as in Slow Food slow) French drama about a young girl’s sentimental education.

 

Klown (2010, dir: Mikkel Nørgaard)

The Danes do comedy in this road movie about two inadequate blokes and a ten-year-old boy on a “tour de pussy”. Inappropriate comedy fans, this is for you.

 

All Is Lost (2013, dir: JC Chandor)

Robert Redford is all at sea on a sinking yacht in the virtually wordless thriller from JC Chandor, who made the banking business sexy with Margin Call and proves lightning does strike twice here.

 

Fossil (2014, dir: Alex Walker)

A British couple in trouble are befriended by a lovey-dovey twosome in this four-hander that looks good, hits a few deep notes and goes as badly whacked-out as outsider-couple dramas generally do.

 

Back to the Garden (2013, dir: Jon Sanders)

Really? A film set in Kent (the “Garden of England”) and made for nothing? Yes, and you won’t find a better recent film about confronting that moment when you realise your parents’ generation are dead and your lot are next.

 

Dallas Buyers Club (2013, Jean-Marc Vallée)

Part of the McConaissance, with Matthew McC as the homo-hating cowpuncher who discovers he’s HIV+ and breaks the law to fix himself. A brilliant exercise in Hollywood storytelling economy.

 

The Past (2013, dir: Asghar Farhadi)

Asghar Farhadi casts The Artist’s Bérénice Bejo as the woman about to marry for the third time, to a man with a wife in coma. How the wife ended up in the coma is what this subversive, complexly plotted drama is all about.

 

The Lunchbox (2013, dir: Ritesh Batra)

A Mumbai desk jockey gets the wrong lunchbox at work and starts up a relationship with the neglected wife who prepared it. Life-changes all round in this lovely romance made with a very light touch.

 

An Episode in the Life of an Iron Picker (2013, dir: Danis Tanovic)

A dirt-poor Roma man tries to get medical help for his pregnant wife in this immensely sweet drama that comes with this seal of authenticity – it really happened, and to this lovely couple.

 

The Lego Movie (2014, dir: Phil Lord, Christopher Miller)

The incredibly smart Lego people got Phil Lord and Christopher Miller of 21 Jump Street to script/direct their movie, a fast-moving Star Wars-y affair with Liam Neeson and Will Ferrell its standout voices. Four viewings necessary.

 

Starred Up (2013, dir: David Mackenzie)

The best British jail drama since Scum, all those years ago, with a starry turn by Jack O’Connell as the new lag running into all the usual bad stuff inside. Spectacular.

 

Locke (2013, dir: Steven Knight)

Tom Hardy sitting inside a car for 90 minutes and making phone calls. That’s all there is to this super-high-concept drama that screws more tension out of the situation than you could imagine possible.

 

Blue Ruin (2013, dir: Jeremy Saulnier)

A hillbilly milquetoast is forced into an unlikely revenge-driven killing spree in a drama that grips from the first second and holds you there till the grisly end.

 

The Counselor (2013, dir: Ridley Scott)

Ridley Scott and Cormac McCarthy’s loquacious drama about a high-flying lawyer who hasn’t realised he’s swimming with the sharks (Javier Bardem, Brad Pitt). A sleek, ratchet-like thriller of pitiless inevitability.

 

Sofia’s Last Ambulance (2012, dir: Ilian Metev)

So simple, so effective, a documentary that follows a Bulgarian ambulance team and focuses entirely on them, never the people they’re treating. Tight, unusual, very humane.

X-Men: Days of Future Past (2014, dir: Bryan Singer)

The best of the X-Men movies gains a position in this list because of director Bryan Singer’s sheer ability to keep so many stories, characters and settings constantly in play. And his observation that the 1970s might as well now be an alien universe is interesting too.

 

 

 

 

The Underrated

 

Antonia Campbell-Hughes and Julian Morris in Kelly + Victor
Antonia Campbell-Hughes and Julian Morris in Kelly + Victor

 

Kelly + Victor (2012, dir: Kieran Evans)

A nice lad falls for a totally fucked up girl in this brilliantly acted, nicely observed Liverpool drama about a boy, a girl and a lot of bondage gear. No “ferry across the fucking Mersey” (the director’s words) visible. Hoo-fucking-ray.

 

Seduced and Abandoned (2013, dir: James Toback)

An exquisite and slyly clever documentary that’s not really a documentary at all, about old mates Alec Baldwin and James Toback talking to the movie world’s money men at Cannes. Fascinating, proper inside-Hollywood reveals.

 

Bad Grandpa (2013, dir: Jeff Tremaine)

Johnny Knoxville deserves the Sacha Baron Cohen award for bravery for the audacious stunts he pulls off as the titular grandpa, and Jackson Nicoll – what, 10-years-old maybe? – even more for his turn as the grandson. Yes, it’s a Jackass movie and that ship has sailed, but it’s also a very funny, one-of-a-kind affair.

 

Metro Manila (2013, dir: Sean Ellis)

A poor Filipino family moves to the big bad city and what looks like a drama about the innocent getting monstered turns into one of the best heist films of the year. Brilliantly made, brilliantly acted.

 

Safety Not Guaranteed (2012, dir: Colin Trevorrow)

Aubrey Plaza, one of those girls who can go from hot to not in the blink of an acting eye, dominates this no-budget smartly written mumblecore sci-fi about a rookie journalist chasing down a pudgy middle age guy who claims to have built a time machine. Fabulous.

 

Oldboy (2013, dir: Spike Lee)

Hated because a) it’s not as good as the original and b) people like to kick Spike Lee, who proves here he’s an intelligent, accomplished gun for hire, while Josh Brolin excels as the asshole incarcerated by person(s) unknown for 20 years and now wanting payback.

 

The Secret Life of Walter Mitty (2013, dir: Ben Stiller)

Ben Stiller’s brilliantly crafted reworking of the story that Danny Kaye made a hit film with in 1947 – about a geek whose rich fantasy life starts to invade his real one – is too unclassifiable to hit the “best of” lists.

 

8 Minutes Idle (2012, dir: Mark Simon Hewis)

A simple British comedy about a Bristol call centre that’s clearly been written by someone who’s worked in one – the cameraderie of the drones is palpable, their maddened boredom too. And star Tom Hughes is great as a post-Uni slacker working out what to do next.

 

The Monuments Men (2014, dir: George Clooney)

OK, so it’s not a Tarantino movie. But George Clooney’s amiable comedy about a crack team saving art before the Nazis destroy it isn’t meant to be. It’s meant to be Von Ryan’s Express/Hogan Heroes reimagined. Job very much achieved.

 

The Invisible Woman (2013, dir: Ralph Fiennes)

Felicity Jones is surely going to get an Oscar one day, but this film actually belongs to Ralph Fiennes (who also directs) playing her lover, Charles Dickens, as the world’s first media celeb. It’s a sweet film about love, in the end, with intelligent digressions.

 

Felony (2013, dir: Matthew Saville)

A gritty Oz cop melodrama written by its star, Joel Edgerton, the supercop who fucks up one night and spends the rest of the film getting further and further in the shit as he tries to wriggle free. Tom Wilkinson contributes another of his sneakily intelligent peformances as Edgerton’s superior.

 

All This Mayhem (2014, dir: Eddie Martin)

If you’ve never heard of the Pappas brothers, Ben and Tas, this excellent and shocking documentary about their 1990s rise and fall is well worth the ride, even if you’ve no interest whatsoever in skateboarding.

 

God Help the Girl (2014, dir: Stuart Murdoch)

A strangely 1960s-ish and intensely cute love letter by Belle and Sebastian frontman/director Stuart Murdoch to his star, Emily Browning, here fetishised in a boy-meets-girl Scottish musical recalling – if you’re fanciful – The Umbrellas of Cherbourg.

 

Chef (2014, dir: Jon Favreau)

Jon Favreau is one of the great under-revered directors of our era, and Chef – a road movie about a celebrity chef getting his mojo back – is exactly the sort of easy-looking, effortlessly digestible charmer he seems to be able to knock out at will.

 

Mystery Road (2013, dir: Ivan Sen)

An Aborigine cop tries to find out who killed an Aborigine girl – with stone-faced resistance from his white co-workers – in a beautifully shot Down Under cowboy thriller with one of the best shootout finales ever committed to film.

 

The Congress (2013, dir: Ari Folman)

Waltz with Bashir director Ari Folman pushes animation even further this time, with a psychedelic meditation on fantasy and reality starring Robin Wright as an actress who is digitised and inserted into any set-up the imagineers fancy. Highly highly unusual.

 

 

 

The Overrated

 

Emile Hirsch and Paul Rudd in Prince Avalanche
Emile Hirsch and Paul Rudd in Prince Avalanche

 

Prince Avalanche (2013, dir: David Gordon Green)

Two guys paint a road and David Gordon Green swerves back into George Washington territory in a film that’s Waiting for Godot with Girl Trouble. Tim Orr’s camera is lovely, 1970s and sun-dappled, but there’s a hole where the meaning should be.

 

Blue Jasmine (2013, dir: Woody Allen)

Another of Woody Allen’s overhyped “returns to form”, this time featuring a relentlessly over-acting Cate Blanchett as a super-entitled bitch whose ship has sailed. Watch instead Sally Hawkins.

 

Thor: The Dark World (2013, dir: Alan Taylor)

Everything that’s wrong with bad superhero films in one film – too many characters, too much gobbledegook, a lack of humour, though Tom Hiddleston’s Loki remains a fun watch. More to come (sigh).

 

The Butler (2013, dir: Lee Daniels)

Lee Daniels’s epic about the black butler (Forest Whitaker) to a whole bunch of POTUSes attempts to square the radical tradition with the gradualist conservative move towards black civil rights. Proficient, nothing more.

 

Saving Mr Banks (2013, dir: John Lee Hancock)

How Walt Disney (Tom Hanks) strongarmed PL Travers (Emma Thompson) into letting him film her Mary Poppins. The leads are genuinely fabulous and brilliant, but all that Travers backstory? Really?

 

Frozen (2013, dir: Chris Buck, Jennifer Lee)

On my own here, I know, a triumph for lovers of adenoidal singing of the sort of Broadway songs that Eric Idle spoofed so brilliantly with his Song That Goes Like This. The snowman and reindeer are funny but the central characters, what utter drips.

 

The Grand Budapest Hotel (2014, dir: Wes Anderson)

It still hasn’t sunk into Wes Anderson’s head that a) a little whimsy goes a long way and b) it has to be in the service of something, if only a good story. Here, though Ralph Fiennes is joyously funny as a devious owner of an old Mitteleuropean hotel, as a film it’s Sachertorte with cream, then more cream.

 

The Amazing Spider-Man 2 (2014, dir: Marc Webb)

Marc Webb’s second pop at Spider-Man is immeasurably worse than the first, fails to weld live-action into increasingly cartoonish set-ups, has too many villains, and feels like little more than a franchise placeholder or a sop to fanboys who will buy any old crap.

 

22 Jump Street (2014, dir: Phil Lord, Christopher Miller)

The jokes were all done in 21 Jump Street – and Phil Lord and Christopher Miller’s extensive running gag in the closing credits, in which they trail the franchise’s development all the way to 34 Jump Street: Return of the Ghost – shows they know it. Jonah Hill, Channing Tatum remain a hot combo though.

 

And if you want to watch or buy any of the films, this Amazon link will allow you to do just that – enjoy!

 

© Steve Morrissey 2014

 

 

 

17 March 2014-03-17

Michael Fassbender and Javier Bardem in The Counselor

Out in the UK This Week

 

 

The Counsellor (Fox, cert 18, Blu-ray/DVD/digital)

A scene early on in Ridley Scott and Cormac McCarthy’s film about a high-flying attorney (Michael Fassbender) who decides to take a walk on the wild side has the counsellor locked in the office of an Amsterdam diamond trader (Bruno Ganz), where the two discuss gems and their flaws. They might as well have been discussing the film itself, a brilliant work of almost-arthouse thriller minimalism with a flaw that’s obvious without the aid of a jeweller’s loupe. But first the good stuff, and there’s tons of it – Fassbender smiling, swaggering as the attorney who’s had enough of simply serving the super-rich and so has set up a get-rich-quick drugs deal. The film is essentially a series of “meetings with rich people” all of them frightening – Javier Bardem as a playboy in party-animal clothes, Brad Pitt as a softly spoken dealmaker, Cameron Diaz as the distillate of pure evil, a Bond villainess who keeps leopards as pets – each one leading the counsellor towards the abyss. The flaw is Penelope Cruz-shaped. Nothing wrong with her performance. She’s as assured and brilliant as the other big names, playing the girlfriend of the counsellor whose love for the big fella is as pure as it is wanton, nice touch. Unfortunately for us, we start off in the company of both the counsellor and his inamorata, and stay following their story for quite some time, which sets the film off in entirely the wrong direction. Because this is about him, not them. Still, if you can overlook this problem, what Scott and McCarthy deliver is a film shimmering with the sort of gloss you’d expect from a director who earned his stripes making adverts, with McCarthy’s spare rhythmic prose (Pitt speaks it so well it’s almost poetry) providing a metronomic, hypnotic drive towards… well, that’s enough plot. Though it’s been dismissed in some quarters, this is Scott’s best film since Thelma & Louise, or even Blade Runner (those of you shouting “but what about Prometheus” need to grow up). As long as you can overlook that flaw. A diamond trader might even pass it off as a feature.

The Counsellor – at Amazon

 

 

 

Parkland (Koch, cert 15, digital)

This unusual drama starts in a familiar place and ends up somewhere else entirely. Kicking off with the assassination of JFK – as seen through the eyes of Abraham Zapruder (Paul Giamatti), the guy whose cine footage provides the historical image of the events that day – the film shifts focus to the Parkland hospital where the dying/dead president was brought, where doctors and medical staff (played by faces including Zac Efron and Marcia Gay Harden) try to bring him back to life. It then shifts focus twice more – first onto the progress of the Zapruder footage through the photo labs (accompanied by CIA heavy Billy Bob Thornton, excellently muted) and then back to the Parkland hospital, where Lee Harvey Oswald (Jeremy Strong) is brought in, the assassin having himself been felled by the bullet of Jack Ruby. As an attempt to deal with a timeworn topic in a fresh way, Parkland is successful. As an ER-style ensemble drama, it’s also effective – the frenzied scenes as the president is first brought in and the staff try to revive him are particularly gripping. Also, everyone is on best acting behaviour – no upstaging by the famous of lesser names. It’s the final portion, with Oswald’s family, particularly his mad-as-a-beehive mother (another brilliant evil-matriarch turn by Jacki Weaver) – which asks us to feel the pain of the Oswald family – that’s going to be hardest for some to accept. Not because it’s an odd ask, but because it ends the film on such a blue note.

Parkland – at Amazon

 

 

 

Blue Is the Warmest Colour (Artificial Eye, cert 18, Blu-ray/DVD)

The lesbian sex is the grabby selling point of this Palme d’Or winning film from Abdellatif Kechiche. And, yes, if you’ve ever wanted to know exactly how lesbians actually do it, then this is the film for you. But looking beyond what are quite protracted scenes of naked intimacy, what this film is really about is the sentimental education of a young girl, played here spectacularly by Adèle Exarchopoulos, who we follow from the schoolyard onwards, the film clearly looking like it’s part one of a bildungsfilm series. Unlike a porn film, it has a plot. In fact it has lots of plot, this being the zig-zagging progress of a sweet girl into womanhood through a series of relationships – the boyfriend who isn’t really her type, followed by blue-haired siren who lures her into a tempestuous relationship which forms the core of the film. To the left and right of this we have parents, friends, colleagues, possible new partners, jealous old partners, everyone interwoven fantastically skilfully by Kechiche, whose brilliant Marseille-set drama Couscous now looks like a dry run for this long, far more ambitious film.

Blue Is the Warmest Colour – at Amazon

 

 

 

Escape Plan (E One, cert 15, Blu-ray/DVD)

The pitch for this film was probably as simple as “Sly and Arnie… in a film together. Kerching.” Well, once upon a time, maybe. But time has moved on and Stallone and Schwarzenegger are now old guys whose knees don’t work any more. But just in case the sight of these mighty oaks of action simply being in the same frame together (the Expendables stuff doesn’t count) isn’t getting the juices going, someone has sat down and worked out a very complicated plot with a twist, about a pair of guys in prison, one of whom (Stallone) is a professional prison-break expert imprisoned against his will, the other (Arnie) is an international financial mastermind blah blah blah. The prison is very hi-tech, the banter is very enjoyable, we get to hear Arnie speaking in German, there’s a twist at the end that you can see coming from before the film starts and the whole thing is just a touch overplotted, overwritten, overcooked. A simple prison escape drama, that would have been more fun. Even on those knees.

Escape Plan – at Amazon

 

 

 

The Hunger Games: Catching Fire (Lionsgate, cert 12, Blu-ray/DVD/digital)

J-Law and Josh “the plank” Hutcherson continue their adventures in bloody reality gameplay in part two of the series, which continues in the “one damn thing after another” style much loved by young-adult films. I’m not saying there’s no plot – plenty happens – but there’s no arc, unless “Katniss stays alive” is it. These whines aside, it’s a zippy and efficiently told story – Katniss and Peeta are taken on a tour of the various districts, having won the first hunger games battle to the death, where revolutionary stirrings are afoot, before President Snow (boo, hiss) decides to rid the world of those pesky kids by staging another hunger games, invoking some arcane law to make it happen. Again it’s the side characters who really impress – Stanley Tucci as the gushing TV host, again it’s gladiatorial Rome meets post-industrial Detroit in its look, again there’s a message of TV as the opium of the masses, again Toby Jones is badly underused, and again Elizabeth Banks and Woody Harrelson are fabulous as Katniss and Peeta’s minders. It’s all very efficient, but it just never quite catches fire.

The Hunger Games – at Amazon

 

 

 

Empire State (Lionsgate, cert 15, DVD/Blu-ray/digital)

It’s Greeks, not Italians, who power this New York gangster/heist film that otherwise is in thrall to Scorsese’s “you talking to me” output. Liam Hemsworth plays Chris Potamitis, the immigrant’s son who winds up as a security guard at a shoddily run facility where the money brought in by the trucks is stashed overnight, one mangy dog and a few half-focused CCTV cameras being two legs of the security tripod that Chris himself is the third leg of. All goes uneventfully until Chris’s hot-headed friend (Michael Angarano, looking like he’s been sniffing glue) decides he wants to hit the place. It’s a true story, of the US’s biggest ever cash heist, and it’s based on Potamitis’s own account of the story (he’s also the film’s producer). Whether that accounts for the slight hole in the middle of this film where the guilt should be, I don’t know. But it’s an enjoyable – competent but nothing more – drama that benefits from Dwayne Johnson’s input as a laidback but deadly earnest cop. He just gets better and better.

Empire State – at Amazon

 

 

 

 

Bill & Ted’s Excellent Adventure (StudioCanal, cert PG, Blu-ray)

The film that was midwife to a whole clutch of films about dudes who’re none too bright, Bill and Ted’s Excellent Adventure is now 25 years old and will probably be making a certain constituency feel suddenly most egregiously ancient. Yes, Keanu when he was still really young. And he’s really infectiously great as either Bill or Ted, whatever, Alex Winter copping the unenviable task of bowling along in his wake. Watched again, B&TEA looks most like an exercise in tone – all that “most heinous”, “bogus” “be excellent to each other” and so on. In the extras that accompany the film – which, in case you didn’t know, is about two clueless ignoramuses time-travelling through history and picking up famous names to help them complete a class assignment – writers Chris Matheson and Ed Solomon confide that, yes, that’s exactly what it was. While working on stand-up, the two of them invented a pair of dumb teenage characters who’d riff back and forth in a kind of stoner/valley/surfer speak which satirised the increasing ignorance of contemporary youth, especially as regards current affairs. Nicely, though, nicely. And that’s the key thing about the characters Bill and Ted (Matheson and Solomon admit that they wrote the dialogue first, then just went through alternating the names Bill and Ted; it didn’t matter) their huge good nature fills the gap where their brains should be. And it’s that dopey feelgood that makes it work still, all these years later. Air guitar.

Bill & Ted’s Excellent Adventure 25th Anniversary Edition – at Amazon

 

 

 

 

 

© Steve Morrissey 2014