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Page 14 of 25 : Newer : Older : : Most Helpful »
Typically, each gig consists of performances of songs from four eras. For the 2023 Tour, these are:-
Part One: Cavern Club (1962-1963):
Part Two: Beatlemania and the touring years (1964–1966):
(Interval)
Part Three: Magical Mystery Tour (1967):
Part Four: The Get Back sessions and rooftop concert (1969):
2 people found this review helpful. ✔︎ Helpful Review?
Luther the movie is a poor cash attempt on the brand and Idris Elba.
Where the TV series had a credible storyline that was interesting this movie is a far fetched fantasy that tries to play every cliché going. It got to the stage where I could predict the next stupid turn..... spoiler alert
the car crashes through the ice in a remote mountain lake and low and behold a helicopter arrives right on time and fully suited frogmen are able to jump in and rescue him from drowning......hmmm thankfully someone had the foresight to send a police helicopter with frogmen ready to go up a mountain in the middle of winter just in case there was a frozen lake....
Action packed ... ok yes
Great lead actor ... ok yes
Good credible storyline ... not really
Will I watch again ... NO
2 people found this review helpful. ✔︎ Helpful Review?
This is another of those that had only bubbled away in the back of my consciousness since it's release...
(I think the market and such made me simply categorize it as just another movie release at the time - nothing to write home about)
...But having stumbled across the DVD, I thought the time was right to give it a go - And I'm very glad I did!
As I alluded to, this is along very similar lines (ish) to the walking abomination that is Love Actually in it's evident multi-stranded (and intertwining) tales of love.
Except here, it's all kind of within one family and their world, proceeding from Juliane Moore's character Emily, announcing to Steve Carell's Cal that she's had an affair with someone at work, and wants a divorce... While dining out... it's news to him, a shock in fact, as well as to the other diners!
This leads to a separation, and reveals other family love related bother such as the babysitter is in love with Cal, and their son, whom she babysits, is in turn in love with her.
Where this really gets good is when Cal goes to a bar, in despair, and begins to bother the customers with his depression, including Ryan Gosling's local stud / pick up artist, who takes pity on Cal, and resolves to help him rediscover his mojo, by teaching him how to get with the ladies and become a stud himself.
This odd couple bro-mance really is the beating heart of this movie, as it is actually (chuckle) very quite a warm relationship, as well as being laugh out loud funny and very witty.
Gosling is brilliant in playing to the character he's given, and basically, everyone in this is great.
More sharply written, presented, funnier, and effective, by orders of magnitude than the aforementioned schlock-fest, I think this could, and should be regarded in years to come, an early contender minor classic from the still recent-ish 2010s.
Top level rom-com, having both elements of this genre combo in spades.
(Especially the laughs!)
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... And having talk about a great deal of things, in the polite and awkward manner of friends who haven't seen each other in a while, and clearly want to say more than they are saying in words, they finally arrive at the more personal issues between them.
...Which is when this begins to become a proper movie in it's own right, rather than simply a sequel, or re-hash of the original... after all the first captured perfect, naïve, romantic magic which, like anything one may do in life, can only be done for the first time once :) - And if they simply tried to redo the original in this way, it would, because of this, have suffered by comparison. Instead, this one captures the later years, of having been deeply impacted by their first meeting, and finding that their lives since have been hooked around that time, and so the longing and nostalgia for a time long gone is the key note here, a little sadder, a little wiser, but just the thing to do to set against the original film.
One point of particular note, that really sets this up a bar, is how it ends...
You may have had that experience in movies where you find yourself thinking:
"If they would just end it right here, that would be just great"
...But they seldom, if ever do. Except here, in this case, they do! Just at the perfect moment, and in the perfect way, it ends. Perfect.
So my fears about seeing a sequel to what was essentially a perfect little movie have been greatly allayed, and now can't wait to find the final film in this trilogy: Before Midnight
(This has got to be a rarity, if not unique in this genre: A romantic trilogy? - Often Romance is defined by tragedy, which tends to preclude sequels: Romeo And Juliet, Titanic, The Terminator etc.)
Superb.
1 person found this review helpful. ✔︎ Helpful Review?
1 person found this review helpful. ✔︎ Helpful Review?
Review
A good Giallo bit silly bit different from what usually see, usually watch ones with more dark themes with nudity.
This had a cludo like story various weapons used various suspec in vatious room though one killer who is it?
Very good storyline which makes you watch much more.
2 people found this review helpful. ✔︎ Helpful Review?
[YouTube Video]
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Here's a movie that has since become regarded as a cult classic... but even that seems to have faded somewhat over recent years.
The reason is, it's one of those profoundly weird, strange, and unsettling movies that people either come to dearly love, or just "don't get it".
To characterise it, or convey a sense of it, I'd invite you to imagine David Lynch's Blue Velvet, done as an 80's / 90s teen high-school melodrama, about time travel (and the philosophy thereof)...
...The superficially idealised American suburban setting with a deep sense of something "off" about the world, in which, Donnie Darko, a high school student with profound mental health problems (history, and current issue of schizophrenia / arson / psychosis) feels very strongly the off-ness of the world around him, but of course, who would believe him anyway, he's crazy?!!!
But he is visited by a very unsettling presence in the shape of a giant rabbit, who informs him of the imminent end of the world, and sets a clock ticking in a countdown to doomsday. Donnie must get to grips with not only his issues, but his family, friends, and school kids, their parents, teachers (one or two sympathetic, others not so), as well as the nature and philosophy of time travel in order to prevent this end of the world scenario.
The bunny is a very malign and disturbing element in this movie, giving it the sheen of a horror movie, and the sense of time running out weighs like lead on these proceedings.
And that's really what struck me when I first saw it all those years ago, as it was perfectly in tune with the times, at the turn of the millennium, and captures the sense of impending doom, and an undefinable sense of all pervading dread... heightened and exacerbated by the evident obliviousness of others to this coming unidentifiable calamity, as they chunter about their lives in blissfull ignorance while those like Donnie, are all too sensible to the peril.
I'd simply say that, if you are of the cast of mind, like mine, of being what I like to think of as "A Natural Melancholic"...
(As distinct from depressive - the one being the nature of the person, the other, an affliction contrary to the natural, or desired state)
...You'll find a strong ring of truth, and will sympathise entirely with the mood created here, but of not, I don't thin this movie is perhaps for you.
To conclude, while it's been a while since I saw the original theatrical release (my DVD is scratched to buggery, and won't play, so need a replacement), I have recently picked up a DVD of the "Director's Cut" which adds a couple of features briefly it seems, like chapter headings, and changes a couple of already well chosen eighties songs in the soundtrack, but overall, nothing really leapt out at me in being dramatically different, so far as it might alter the tone, point or purpose of the movie - it's still the same basic movie as far as I can see - so I don't think it makes too much difference tot he experience which version you might choose to see.
A great, strange movie that captures the mood of the cusp of a change of eras.
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So nothing to be gained or lost by having this great album on one of these formats over the other
It is in the best sense, a typical eighties sounding album, big synth-y sounds, with dramatic punctuation in the music, all the along the same lines as the lead track, which you all know: Higher Love... But fortunately, like that one, although the Eighties sound is a feature, it's one of those that mercifully avoids sounding dated (too much, anyway), and the songs are consitently strong throughout.
The two other stand-outs here being the Title track: Back In The High Life (Again), and the final track, which ought to come with a warning, for as I remember it, on first hearing, so long ago, it's a perfect break-up song... in that it is pre-eminent in making you perfectly miserable, if you're going through something like that, and along with Hall & Oates: She's Gone, are masterful in being as much a tonic in such a situation as this as a stiff kick in the balls.
(To the extent that if you are on of those other kinds of humans, who have no balls, it will make you feel like you did, and you had been kicked in them... by a large man with heavy boots and a very long leg :(
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The Liturgy Of St John Chrysostom was based on Tchaikovsky's 1875 publication “A short textbook of harmony, adapted to the reading of spiritual and musical compositions in Russia” which in 1881 was adopted as a textbook of church singing for theological seminaries and colleges.
[YouTube Video]
1 person found this review helpful. ✔︎ Helpful Review?
This ghost story movie is astonishing to look at, but mind numbingly tedious and dull. The excessive CGI makes the ghosty things decidedly unscary, plastic looking crap... And the look is too good for the kind of film they were trying to make - by my estimation, a kind of Hitchcock suspense, haunted house ghost story.
The cinematography is so sumptuous and colourful that it distracts from any drama or suspense this might have otherwise have had.
This tale of an intelligent, yet innocent aspiring writer getting hooked up with Tom Hiddleston's baronet (landed gentry type - Hiddleston doing yet another wonderful rendition of a non-variation of the typical Hiddleston character - as Hiddleston - getting boring now ) and his whacky sister could have been good if they'd gone more for atmosphere, rather than look - grimed it up a bit - gone dark, kind of thing (Might even have been better in black and white!)... and had a less boring screen play.
I was only half hour in and was playing with my phone, and feeling defeated that there was still an hour and some many minutes left.
Feels a lot like that 90's Liam Neeson version of The Haunting, where a lot was made of the visual gimmick, and how it looks, while being equally stultifyingly dull.
Avoid.
(Del Toro is vastly over-rated in my book - a poor man's Peter Jackson)
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Of course, it draws attention in Hitchcock's filmography mainly due to the experimental elements:
The apparently "real-time" action taking place against a backdrop of a city skyline set, where, through the magic of lighting and set design, day gradually becomes night as the drama takes place in one apparently continuous shot (Actually there's one visible break - zooming into someone's back, before coming back out again, and also one switched camera angle) but still impressive none the less, not least because the actors had to keep this going perfectly individually, and as an ensemble for extended stretches.
This, being centred around a murder, which we see committed at the start, as an " artistic experiment" conducted by a perfectly depicted cold, charming, and detached psychopath and his old school chum...
(Who is actually the more interesting character in a way, as he is able to do this thing, but is very jittery and troubled - not evidently, because what he has done is wrong, but through fear of consequence to himself if discovered - would this make him more a sociopath?)
...Who then invite people over for a party while the body remains in a chest / box in the middle of the room, and from which they eventually eat supper from. - their knowing, in the face of other people's ignorance of the crime, and the presence of the body, right under their noses, providing the twisted thrill our chief psycho is looking for, to round out his "art".
The crucial error, being having invited James Stewart's old schoolmaster - their old teacher, who inspired this notion in them through his, only apparently, extreme, barmy, and tenuous philosophical views about superior persons who should be allowed to commit such crimes against the inferior persons in society - who then very quickly clues in to the fact that something is up, and begins to sleuth them out, all the while the party goes on around them.
It's very much a statement about the kind of thinking that led to Nazi atrocities in the second world war.
But the truly impressive thing about this, for me at least, is the - how should I call it? - screenplay choreography taking place here, to allow this extended take scenario to work; The shifting of focus of the camera to different groups of people allows some actors to go out of shot for a spell and others have a moment, before returning fluidly to the central characters, and the main story. It doesn't feel artificial, or forced - that is: "We need to give this actor a break now, so quick, shift to some characters", but rather just floats seamlessly around the characters at the party, without disturbing the flow, or rhythm of the movie.
It's the one film of Hitchcock's that although he has some incredible movies in his filmography, has stolen through the pack to become my favourite over time, mostly through the mesmeric quality of this stage like production, which give a more intimate and fascinating tale of suspense than usual.
(I think this is also why I like Rear Window as much, over say Vertigo, Psycho et al.)
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Jose must been on drugs make this, one half film black and white the other was in color, the storyline was strange people take lsd then have sexual fantasies while some people try and find the beast(Jose).
Once beast is found he goes and enslaves the people who took lsd while making women slaves for himself.
4 is my rating good scenes strange storyline.
2 people found this review helpful. ✔︎ Helpful Review?
The Thompson Twins were also exceptional, just surpassing The Undertones, though there Teenage Kicks raised the roof
great memory from a long time ago, but finding this site brought it back, thank you :)
1 person found this review helpful. ✔︎ Helpful Review?
Yeah, seen a LOT worse!
7/10
:happy:
1 person found this review helpful. ✔︎ Helpful Review?
A loner strip club regular (played by Joseph Peters) becomes obsessed with the erotic dancer Jennie (who oddly stays fully clothed for the entire film despite numerous dance routines) until his incel rage grows and he abducts her. They then proceed to roam about to not much purpose until the shock ending which isn't much of a shock at all.
Even at 85 minuttes this film seems overlong with the only enjoyment coming from the obscure synthpop soundtrack by Field Of One.
4 people found this review helpful. ✔︎ Helpful Review?
>Perhaps a spoiler in here<
(A theme of both eighties music and movies, often thought to be shallow and superficial, but actually concealing a lot of stuff you didn't know was there)
...In this case, most will simply accept this as an exercise in Bravado, and Overly overt masculinity, and (as often observed by those who watch this for the first time) a pungent aroma of testosterone... As if actually celebrating it, and glorying in these elements.
But actually, nothing could be further from the truth... Indeed, quite the contrary!
This is, in reality, a statement about masculinity, and machismo and how these elements most often find their natural expression in big dudes with big guns, shooting the crap out of everything. Granted, there's plenty of that here, but you cannot fail to notice how exaggerated it all is - dry shaving with hunting knives through stony faced glares into the middle distance, massive, stupid and impractical weaponry all underpinning the evident sense of over-confidence this gives the soldiers here...
...Misplaced confidence.
And here we come to the actual statement about these things, and what this film is really saying:
You may think you are tough, and believe you're own BS, but what if something else, bigger, scarier, and both more singular in it's purpose, advanced in it's weaponry, were to appear on the scene that would render all your displays of apparent strength pitiful by comparison?
And this the essence of the movie, it, through the means of this alien lizard-oid creepy-crawly, by degrees, and systematically breaks down this bravura, shatters their illusions of superiority and strength, even their sense of relative sophistication and expertise so they become no more than scared little children running around in the jungle.
But it goes further than this, as it also, in the end, reduces Arnie back to a primitive, cave man like state - stripped of all civilization as a man, to a barbarous savage fighting for his life.
(I wonder, if the contemplative stare in the outro is a reflection on this, and what has happened to him there in the jungle - was hem and his cohorts, nothing but a cave man, and a savage all along... just took an alien to strip away this false conceit?)
It might, on reflection, have been right there in our faces all along, that this was what the movie was about, as the poster is an image of Arnie, as seen through the eyes of the alien's Infra-Red heat vision., under the massive title word: Predator.
(Who exactly is the real predator here... the alien, or Man / Arnie?
Arnie has, actually, the most normal character among the team, and has a more realistic attitude to what he's doing - playing it straight for once, as opposed to the usual comic violence with one-liners we were used to from him at this time as he casually dispatched multitudes...
(Well, there's the odd one, but nothing that renders him cartoonish, as elsewhere)
...And it's that man John McTiernan again at the helm (Die Hard etc.), who, certainly at the time, knew what he was doing, and saying with these films, and better than anyone else back then!
There is one crucial flaw in this film though for me:
The opening shot, of an alien spacecraft depositing a pod with the alien in, on earth, to set the film up - this would have been so much better, going in blind, if that had been removed, so that all you knew, was that you were in the jungle with these men, on a mission, then strange things begin to happen, of unknown origin... Which would have left you as non-plussed, and anxious as the characters. But alas, you've seen the opening shot, so know about the alien... Shame.
As with all these great original concepts: The Terminator, Alien, Predator etc., it seems those who then go on to make sequels, and franchises out of them, they only tune into the superficial elements of what the movie, at it's heart, is, and cannot understand what it is that actually made these films so powerful in the first instance, and these are the very elements that seem to get left behind, for though they didn't know it, they were what made them work, and why the newer ones do not.
1 person found this review helpful. ✔︎ Helpful Review?
Although the line up for this doulbe disc package has no original members, it doesn't fail to meet their usual high standards.
Good setlist and the new singer slots right in. Won't disappoint the fans.
2 people found this review helpful. ✔︎ Helpful Review?
One of those movies which has a blend of apparently disparate elements, that it would never have occurred to you that they would go well together, until you sit and think about it for a moment, and go... "yeah, actually, that makes perfect sense!"
The elements here being first: It's a Wes Anderson movie...
His ultra precise, perfectly symmetrically framed cinematic style, with those quirky, perfectly parallel sliding tracking shot movements, in an almost, moving diorama look.
The perfect compliment to the second... The precision and style required by stop-motion animation; Here a style built from different animation techniques, of models in stop-motion, over two dimensional animated set elements, which give it an almost anime / manga quality.
All of which, is rounded off by the final perfect piece:
Being set in a kind of dystopian nearly future Japan.
Not being overly familiar with Japan myself, I couldn't really say if this is an accurate representation of that country, and it's cultural elements, except impressions I have. like anyone else, of a very subdued, precise (that word again!), conservative culture, very deliberate, and exacting in it's essence...
...All of which, make for a Swiss watch of a movie, but one not lacking in heart, and warmth, with some genuine moments, as well as elements of genius in it's execution.
A tale of a near future, where dogs have been overwhelmed by a plethora of diseases, agues, and maladies, which prompt the human population of the fictional city of Megasaki. led by the stern mayor and his advisers, to decree that all dogs be exiled to a small island: The Isle Of Dogs, to live, and forage among the waste and refuse of the island as strays.
Atari, the mayor's adopted son though, has other ideas, and sets off, in defiance of his Father, to find his dog, Spots, previously assigned to be his companion, and protector after an accident.
Crash landing on the island in his plane, this "Small Pilot" immediately takes up with a group of dogs, and they set out together to help find Spots.
Basically, it's about a boy and his dog, as told through the eyes of the dogs of the island.
The subtle genius moments here, are that Wes uses a brilliant device, of having a kind of United Nations / news report translator (Frances McDormand) to translate the Japanese, but sometimes, with a mixture of Japanese and English subtitles displayed as an almost artistic feature of the film, there often is only Japanese... The dogs speak English, and so cannot understand, or be understood by the humans, who speak Japanese, so using this apparent disadvantage to great effect in showing the difficulty in dogs and humans understanding each other - very clever!
There's also, the occasional Ferrris Beuller style, look to camera, by one of the stop-motion dogs, which adds to the wickedly funny moments and jokes / gags in this sharply written piece, with Anderson's signature humour.
The final touch that often had me laughing out loud was when the dogs get into a scrap (especially with the robot dog!), and a kind of looney tunes cartoon style cloud of dust appears, and the various odd limbs are seen poking out from this frenetic maelstrom - a fist, a tail a leg etc.)
I loved this whole thing, and I hope Wes Anderson makes more of these animated movies, because, like Tim Burton's: A Nightmare Before Christmas, an ordinary stop-motion movie is elevated by a distinctive film maker's sensibility, and style.
Marvellous!
1 person found this review helpful. ✔︎ Helpful Review?
A kind of blues to rock base overlayed with jazz rhythms, expanded upon with very new wave prog synths blended perfectly with Jeff's strident guitar playing, which is, by turns, big 'n' crunchy distortion, through intricate and virtuoso, down to subtle and soulful.
Bounces nicely between jazz, blues, rock and prog styles in such a way that you can't see the joins.
And while this is a pretty thin piece of vinyl (little floppy too), it is an absolutely great pressing, and really sounds audiophile quality, in terms of clarity, breadth, and scale, as well as detail in the quieter parts (where they exist!).
1 person found this review helpful. ✔︎ Helpful Review?
"As soon as we were let into the venue someone in the crowd started a Genesis chant ('Give me a G, give me an E..', etc) which grew in volume as more people joined in. As we all took our seats Mike Oldfield's Tubular Bells was played over the PA system, and after a while we noticed dry ice starting to come out from under the stage curtain, then the house lights dimmed, blue lights came on around the stage, the curtain lifted and the band were here, the whole scene looking like the sleeve of Genesis Live LP except that now Peter was wearing his bat-wing head piece. The visual effect was stunning and the only motion was Peter's head moving slowly from side to side, before they went into 'Watcher Of The Skies'. Then the band played 'Dancing With The Moonlit Knight', 'I Know What I Like (In Your Wardrobe)' - their latest single - and 'Firth Of Fifth'. Phil stepped out from his drums and was accompanied by Mike Rutherford and sung 'More Fool Me', which was perfect. The next songs were 'The Battle Of Epping Forest', and 'Cinema Show', and after those Peter announced that they would play (quote) 'some antiquated numbers', which were 'Harold The Barrel' and 'The Musical Box' - his performance as the aged Henry was faultless. Then lastly came 'Supper's Ready', which climaxed with a magnesium flare and a bang and Peter's ascension on wires in his reflective suit. Unbelievable! The band left the stage and the audience gave them a 5-minute standing ovation but they did not come back, sadly, despite one guy who had been shouting 'The Knife!' between songs and was still doing so as we filed out of the building! It was an amazing evening."
1 person found this review helpful. ✔︎ Helpful Review?
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There's something strangely compelling about watching a couple of men alone together going stark staring crackers by degrees.
The set up is very basic, therefore, as these two lighthouse keepers, strangers to each other, arrive on an isolated lighthouse island to... er... keep it, I guess...
...Willem Defoe's apparently grizzled old sea dog type, along with Patterson's young drifter / young buck newbie doing the initial slightly tense circling of each other in the "getting to know you" phase, within the power dynamic of mentor / master and student / dogsbody, before gradually breaking down, not only this tension, but then themselves and each other, personally and psychologically in a battle of wills that ends in madness.
Here be mad dragons me lad!
It really has a feeling of a Ben Wheatley movie (A Field In England / Hit List etc.), or one of those small, surreal nuggets like Berberian Studio, or the like, and certainly is a psychological horror movie, as it moves from tense, and generally strange through unsettling and odd, before landing neatly on hallucinatory and crazy.
Relying, as it does, on the two leads here, both have to pull this off between them, and they do expertly, with Patterson moving from quiet, self contained and uncertain, to undone and venting very convincingly in this power dynamic... but it's Defoe who really nails it... The very broad, grizzled old wart character could be hammy very easily (and perhaps it is to an extent), but it works especially with a script that you can tell made his eyes light up when he read it, as this part is one for an actor to really get his teeth stuck into, with lengthy, poetic monologues he delivers with a mesmerising, captivating performance.
It's another form that apparently ever brilliant A24 lot, who seem to be the only crew in town who still know how to make a proper movie outside the comic book formulas all too prevalent today.
...And there's a nice, evocative sea shanty to end with, all of which makes for a very haunting experience in all the finest traditions of this kind of movie.
1 person found this review helpful. ✔︎ Helpful Review?
I gather that this was originally recorded to give as Christmas gifts to his friends but obviously it made it to a general release.
IMHO this is a good listen if you enjoy Tomita, Wendy Carlos or the like.
1 person found this review helpful. ✔︎ Helpful Review?
I don't know why this never appears on one of those lists of all time great movies, alongside the likes of Citizen Kane, Gone With The Wind etc. As it certainly deserves to be there in my book.
One of those that seem to be one kind of movie, about a particular subject, but by the end, has become something else...
..And as this is a pure character study, the reason is that the characters change, or rather, reveal more of what they truly are, and what the real circumstances that compel them to be this way change too.
Ostensibly, it's a fairly straightforward story of a cocky, overly-confident young Hustler, on the make, and coming to town to take on the old king of the pool-room hustle, and so take his crown, so to speak, in the er... grass-roots, underworld of small-town pool hall hustlers, but having learned a thing or two in the process, and meeting a lonely woman in a diner, who he strikes up a relationship with, this Maverick drifter with nothing apparently to lose, discovers, all too late, that maybe he, like everyone else in this movie, is only really hustling himself, and the effects, both on him, and those around him, cause him to lose more that he can gain.
His tragedy, being that he is so conditioned to hustle, he can't really stop himself even in the face of tragic consequences.
It occurs to me that this will have a great deal of relevance to a modern audience, being a great analogy of social media experiences where people are so compelled to present an image of themselves to the outside world, they may lose themselves to this image, and forget who they really are entirely.
Which is to say, in repetition: Hustlers only ever really hustle themselves.
2 people found this review helpful. ✔︎ Helpful Review?
The overly convoluted plot twists (it's one long plot twist!) remain confusing to watch, even if you know what's coming... in fact knowing what's coming only serves to highlight how messy it is.
(This really kills the dramatic aspect of it being a movie, if most of the time you are gazing into space with a look on your face like: "Did I leave the stove on?" and not absorbing the drama on screen)
While the end gets stronger and better, the elephant in the room remains the incomprehensible, and questionable physics, which are only lightly explained with the cod-physics expositions / dialogue... a logical knot that Nolan tied himself up in due to
the great flash of inspiration of the original idea.
But the real surprise on the second watch was becoming aware of actually, just how tedious this film is... it is a boring movie!
I realise now, that if you take away the surprise elements of a first time watch, and see / hear past the soundtrack that heightens suspense, and the dazzling backward cinematography, Even the action set-pieces are slow, and go on far too long.
Shame, as the idea of a sci-fi James Bond / Bourne intrigue thing was a thrilling concept.
Probably now, Nolan's worst movie...not a classic by any stretch.
2 people found this review helpful. ✔︎ Helpful Review?
- the spectator 26/12/1958
- this appears to be a crime & violence (with a little bit of sex) ''gangsploitation'' novel
1 person found this review helpful. ✔︎ Helpful Review?
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