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

 

 

 

15 September 2014-09-15

Tom Hiddleston and Tilda Swinton in Only Lovers Left Alive

 

Out in the UK This Week

 

Only Lovers Left Alive (Soda, cert 15, Blu-ray/DVD)

Jim Jarmusch arrives in genre territory with this achingly hipsterish take on the vampire movie – finally, one for the grown-ups – full of arch jokes about eternal bloodsuckers. I went into it thinking that surely the Lou Reed of cinema, with the perfectly cast Tilda Swinton and Tom Hiddleston as Adam and Eve, a pair of centuries-old vampires, is going to make the film that 1983’s The Hunger should have been. And he has. Keats, Iggy Pop, Franz Kafka and Buster Keaton are all name-checked approvingly in a dry, drole story about Tangier-domiciled Eve responding to an emergency call from a suicidal Adam in Detroit and heading off to visit him, only to find that her sister Ava (Mia Wasikowska, too briefly, but perfect) is joining them to disrupt things. It’s full of deadpan jokes – Adam asking Eve is she wants to go and see the Motown Museum, Swinton replying “I’ve always been a bit of a Stax girl myself,”, the eating of blood ice lollies as a special treat (“Blood on a stick!” purrs Adam. “Bloody delicious,” replies Eve), the fact that the pair travel under the names Stephen Daedalus and Daisy Buchanan. And it only occasionally hits a bum note – Eve’s occasionally too exposition-laden chatter. Swinton looks fab with big hair and David Bowie cheekbones, Tangier and Detroit are both gorgeously photographed by Yorick Le Saux and Jarmusch ranges wide in his cultural references, heavy in the mix being Joe Orton, though the gothic jokiness of Polanski’s The Fearless Vampire Killers is in there too. About perfect.

Only Lovers Left Alive – at Amazon

 

 

 

Sabotage (Lionsgate, cert 15, Blu-ray/DVD)

An unusual kind of Arnie film, written and directed by David Ayer, who made a decent and thoughtful action thriller with End of Watch (and Street Kings, for that matter). He hands Mr Schwarzenegger a good baddie role as a bent DEA cop whose team are all suddenly getting killed, because one of them has made off with the mob’s money. Sabotage opens strong, with a The Raid-style action sequence, then is turned down to a simmer during which Arnie and his gang – who all have boiled-in-testosterone names such as Monster, Smoke, Grinder etc – essentially insult each other in good-natured badass bantering style, top marks going to Mireille Enos, whose foul mouth actually manages to trump the boys. The often fragrant British actress Olivia Williams turns up as a ball-breaking Southern cop on the murder case, and she’s actually very good at it. Williams gets the career-high line of saying to Schwarzenegger “don’t be such a girl”, which made me laugh anyway, though she has more amusing scenes with Harold Perrineau, as her fellow cop, the running joke being that he’s got the hots for Arnie. It’s a funny film, ridiculous even, though it kind of knows it’s ridiculous and probably even knows that there are too many characters chasing too few plot points. It even throws in an iconic Arnie ending. Not quite descending into molten metal, but certainly playing with the hasta la vista iconography.

Sabotage – at Amazon

 

 

 

Pompeii (E One, cert 12, Blu-ray/DVD)

The plot of Titanic is repurposed for a sword-sandal-and-molten-lava epic, with Game of Thrones-er Kit Harington as the slave making warm eyes at feisty nobleman’s daughter Emily Browning in Pompeii, just minutes before its gigantic volcano is about to explode. This is a big dumb pudding of a film, studded with unexpectedly good things. Chief among these is Adewale Akinnuoye-Agbaje, as Harington’s tough, noble gladiator buddy, who in a just world would have been the film’s star. And there’s Kiefer Sutherland’s choice of accents – one of his dad’s, I thought, from a box marked “strangled theatrical”. And he gets to utter the line, “Kill them, kill them all!” Did I mention he played a baddie? The SFX are done on the cheap, though director Paul WS Anderson manages to pull off a few moments of awesomeness – some of the gladiatorial fights, the way the volcano’s ash falls like a dirty blizzard – though most pleasingly he’s made a film that has pace and doesn’t get bogged down in its romantic moments. He’s learned a lesson from those Victor Mature films.

Pompeii – at Amazon

 

 

 

The Two Faces of January (StudioCanal, cert 12, Blu-ray/DVD/digital)

My cheap shot at this film is that it’s The Untalented Mr Ripley. That’s not a fair estimation of its qualities, but it is, like Ripley, an adaptation of a Patricia Highsmith book about a trickster getting himself into a tight spot, with just a waft (almost invisible) of homo-erotic underplay between its two male leads. And it looks like Ripley too. Those gorgeous early 1960s shots of Greece, where scamming small fry Rydal (Oscar Isaac) is taken up by scamming big fry Chester MacFarland (Viggo Mortensen) and his sexy wife Colette (Kirsten Dunst), and is then locked in one of those “till the death” threeway struggles after MacFarland implicates him in a murder that he committed. Director/adapter Hossein Amini certainly knows how to make a good looking film – this is sumptuous to the nth degree, with Mortensen looking fabulous in his white suit and hat, all lizard-like Richard Widmark/Michael Douglas, while Dunst also looks very upscale in her tailored boho outfits, cut to fit just so. The hair, the make-up, the locations – we switch from Greece to Istanbul as Amini shifts his homage from Anthony Minghella to Alfred Hitchcock for the big chase finish – the lighting, the quality of the air, nothing can be faulted except for the fact that Amini has failed to locate us properly on the side of Isaac’s Rydal (and Isaac’s typically affectless performance really doesn’t help here either). So though this film is entirely enjoyable, it never grips like a thriller should.

The Two Faces of January – at Amazon

 

 

 

Frank (Curzon, cert 15, Blu-ray/DVD)

Frank Sidebottom (YouTube here) was a punk George Formby (YouTube here) with a chirrup of a voice emanating from a giant paper mache head, which would ham out ironic music hall versions of Sex Pistols numbers. This almost-biopic using very little of Sidebottom’s (real name: Chris Sievey) own, real story plays out as a drama seen through the eyes of a new recruit to Sidebottom’s band, a hapless soul (Domhnall Gleeson) who wants success, who wants to write good songs, whereas the rest of the band (played by the likes of Maggie Gyllenhaal and François Civil) actually court the obscurity which, they feel, will validate them as real artists. Thus, in Jon Ronson’s script, we have one of the great dilemmas of all bands – to be “interesting” or to go for the money, or to attempt to square the circle. On these terms, this film is totally successful. As an entertainment, you can’t help feeling that, like Sidebottom’s band, it’s deliberately chucking away its best tunes –  that’s Michael Fassbender as Sidebottom, and regardless of what you’ve read elsewhere about the enormity of his performance, it honestly could be anybody. But hey, that’s medium and the message in total harmony, is it not? Approach with caution.

Frank – at Amazon

 

 

 

Vamps (Metrodome, cert 15, DVD)

The USP of Vamps is that it’s the Clueless duo writer/director Amy Heckerling and star Alicia Silverstone reuniting. And the tone is relentlessly similar – smart, side-of-the-mouth observations on life, love and footwear. Clueless used the high school flick to do its work; here Silverstone and Krysten Ritter play a pair of vampires who share an apartment, the running joke being that Silverstone is pretending that she was “turned” in the 1980s, as her friend was, whereas in fact it was 1840. So she’s busking valiantly every time the conversation turns to Ozzie Osborne or The Cure. It’s full of fun performances – Ritter is an effortless star and Silverstone graciously gives her the floor, Malcolm McDowell is amusing as Vlad the Impaler, now just another member of Sanguines Anonymous like most of the rest of them, and devoted to knitting (still with the sharp implements, he points out), while Sigourney Weaver again reveals her genius for comedy in a hyperventilatingly mad performance as Cisserus, the baddest of the bad vampires. Clearly, judging by the shocking SFX, no one had any real faith in the film, but in spite of its too-muchness (characters, plotlines, slightly antiquated smarts) it just about works.

Vamps – at Amazon

 

 

 

American Interior (Soda, cert 12, DVD)

This is a gently bonkers film made by Super Furry Animals frontman Gruff Rhys, who essentially has gone on a solo tour, but instead of giving his devoted fans the back catalogue, gives them a PowerPoint display, with the odd half-written song in between. Like his last film, it’s about the Welsh presence in the Americas, Separado! being about the diasporic Celts of Patagonia, American Interior shifting the gaze north to the USA. Rhys is on the trail of an ancestor, John Evans, who was part of the first push to open up the interior, when everything west of the Mississippi was Spanish and the Native American still ruled the roost. It’s part travelogue, part snapshot of Rhys’s fans, many of whom are fervent Welshophiles, part concert movie and part history of the under-represented – Rhys takes several side turnings to talk to Native Americans, though soft-pedals the connections between them and the Welsh as small nations oppressed by superpowers. All shot in black and white with just the odd splash of colour, it’s a relaxed, ambling, shambling corrective to the normal run of films, which seem madly rampant in comparison.

American Interior – at Amazon

 

 

 

© Steve Morrissey 2014