Movies @ Gorey Cinema Blog

3D, 2D Movies, Culture-Live in Hd, Opera, Ballet & Theatre

Léirmheas Ballerina

Scéal suimiúil saor ó na clichés, beochan inchreidte go leor agus carachtair gleoite atá pearsantacht chasta, daonna acu. S’éard atá i gceist leis an scannán Ballerina, atá cóiréagrafaíocht ag réaltaí an Opéra National de Paris ann.

Baineann plota an scannáin le scéal Felicie – cailín Briotánach a bhí i gcónaí ag aislingeacht le bheith ina bailéiríne go dtí go bhfuair sí seans amháin lena haislingí a fhíorú i dturas rúnda go Páras. Ní “laoch tipiciúil” í ar an scéal toisc go mbíonn sí dána anois is arís ar nós fíor-pháiste. Níos tábhachtaí fiú, cé gur scéal na n-óg é an scannán so, ní finscéal atá ann, agus dá bharr taispeántar air gur do-dhéanta an rud é teacht ar dhuine atá go hiomlán maith nó go hiomlán olc. Go deimhin, ní bhfuair sí deis freastal ar an scoil bailé i bPáras go dleathach – do ghoid sí aitheantas chailín eile, agus fuair sí pionós cuí dá bharr. Ní hea nár éirigh léi a sprioc a bhaint amach ar deireadh, ach bhí uirthi cloí leis an dlí agus rialacha áitiúla gan tuilleadh caimiléireacht. Is tábhachtach teachtaireacht mar sin a chur trasna chuig páistí: taispeánann sé dhóibh nach ann don “sióg máithriúil” agus caifear obair a chur isteach ar do chuid aislingí… Ach san am céanna, má bhíonn tú dána, gheobhaidh tú pionós.


Tá namhaid spéisiúil ag Felicie chomh maith. Níl Camille bheag go hiomlán olc, ach tarlaíonn sé go bhfuil an-chuid brú uirthi ag teacht óna máthair féin chun an sprioc céanna a bhaint amach. Múintear ceacht eile do na lucht féachanna óga le scéal Camille: níor rugadh éinne “olc”. Foghlaimítear droch-nósanna i rith an tsaoil. D’aineoinn sin, is féidir le haon namhaid maitheas a dhéanamh ar deireadh má thugtar cairdeas fírinneach di.


Is thar bharr an rince a bhfeictear sa scáthlán ó tús go deireadh an sárshaothair so. D’éirigh leis an bhfoireann beochana íomhá a chruthú atá tarraingtheach agus inchreidte san am céanna. Níl sé deacair duine a shamhlú ag tabhairt fé na céimeanna céanna sa bhfíor-shaol. Is mór is fiú féachaint ar an scannán so, is cuma más páiste nó duine fásta thú!

by Natalia Danzmann


All-time Broadway ‘smash-hit’, “Amadeus” Review

Peter Shaffer’s “Amadeus” is one of the greatest and most popular plays of the second half of the twentieth century – it gave greater currency to the name of W A Mozart and resurrected another name that was once celebrated in the world of music, Antonio Salieri.

Before 1979, few moderns had ever heard the name of Salieri. Yet, two hundred years earlier, at a time when Wolfgang Amadeus Mozart had composed over five hundred musical works and had only a few years left to live, his operas were rarely performed – eclipsed in Vienna and elsewhere by the ‘immortal’ operas of Antonio Salieri! And then came “Amadeus”, followed by the Oscar-winning Milos Forman film, and Salieri achieved the fame he had long ago craved for. (The film won eight Oscars – and Maurice Jarre, who won the Oscar for Best Original Musical score, – for “A Passage to India” – later commented:- “I was lucky Mozart wasn’t eligible”; true for him!.)

“Amadeus”, which tells the story of the rivalry between Mozart and his contemporary who was for a time more successful than Mozart, is one of the twentieth century’s most delightful plays. Its plot was inspired by a play by Pushkin which was based on a rumour that Salieri had claimed on his death-bed to have poisoned Mozart – claiming that he did it because of his obsessive jealousy of the divine gifts the granted to the latter. (The claim has never been supported by scholars, although he did hinder the career of his impractical and often unwise colleague.)

The play premiered in 1979 at The National Theatre, directed by Sir Peter Hall with the great Paul Schofield as Salieri, Simon Callow as Mozart and Felicity Kendall as Mozart’’s wife, Constanze. It was a great hit and transferred to The West End. In 1980 it was produced on Broadway, with Ian McKellan as Salieri, Tim Curry as Mozart and Jane Seymour as Constanze. It was nominated for seven ‘Tonys’, winning five; a ‘Tony’ is awarded for “distinguished achievement in US theatre” and is the stage equivalent of an ‘Oscar’. The production ran for an astonishing 1181 performances, which places it in the All-time Broadway Top-20 for straight plays.

I first saw ‘Amadeus’ at The Gate Theatre in 1983, a production that remains a treasured theatrical memory; Alan Stanford, was superb as Salieri, and won that year’s Harvey’s Award for Best Actor.  And up in Ballyduff they still talk glowingly about a 1992 production of the play Directed by the late Bill Canning, featuring Patsy Ahern as Salieri and the recently-deceased Hugh Moynihan as Mozart.

Shaffer has been accused of trivialising Mozart, of presenting him as a vulgar human being, but it’s also true that few have better grasped the glory of his music. At one point he has Salieri say, at the 1786 premiere of Mozart’s miraculous opera, “The Marriage of Figaro”:-

“Trembling, I heard the second Act. The restored third Act! The astonishing fourth! What shall I say to you who will one day hear this last Act for yourselves? You will – because whatever else shall pass away, this must remain”.

And towards the end of the play, as the notes of Mozart’s last Symphony rise to a crescendo, a tortured Salieri’s voice becomes ever more strident as he claps his hands to his aching ears to shut it out :- “Mozart’s music sounded louder and louder through the world! And mine faded completely, till no one played it at all.”

For music-lovers and those without interest in music, this is a delightful play, both funny and heartbreaking by turn. It tells a great story. The London press have given this production some resoundingly positive reviews. It’s at Movies@ Gorey on Thurs, Feb 2nd.  – were it not being screened live, I would be heading to London to see it.  (Jim Ryan).

Verdi’s “Il Trovatore” from Covent Garden Review

World-class singers in Verdi’s “Il Trovatore” from Covent Garden  

Within twenty-four months, from March 1851, three operas by Guiseeppe Verdi, each amongst the greatest and most popular ever composed premiered – “Rigoletto” on March 11th, 1851 in Venice; “Il Trovatore” on January 19th, 1853, in Rome, and “La Traviata”, in Venice, on March 6th, 1853. And “Trovatore” was a tumultuous hit – so great was the applause that the last Act was encored in its entirety.

To quote Denis Forman:- “Trovatore immediately moved up to the top of the Italian repertory and has remained there ever since”; and there could be no greater accolade, in my eyes, than the fact that the immortal Marx Brothers wove their own magical brand of mayhem around a performance of “Trovatore” in their film, “A Night at the Opera”.

While ever since his third opera, “Nabucco”, Verdi had achieved fame as a composer, it was this trio of stage works, his 17th, 18th and 19th,  respectively, that set him on the road to operatic superstardom which made him an Italian national treasure.

“Il Trovatore” demands powerful soloists – Caruso famously proclaimed that all you needed for it was the four greatest singers in the world. In this regard, Forman writes:- “Warning: “Trovatore” demands four top-class singers. With three it gets by. With two or less it can be a pain”.

Well, patrons need have no worries for this production. Dmitri Hvorostovsky (one of the great Baritones) and Mezzo-soprano, Anita Rachvelishvili, who sings Azucena, has already been heard to thrilling effect – she is one of the finest new voices I’ve heard in recent years. The American duo, the rich-toned soprano, Lianna Haroutounian as ‘Leonora, and Gregory Kunde (with his marvellous high notes), are superb singers. (Haroutounian was magnificent in Verdi’s “Les Vepres Siciliennes” from Covent Garden two years ago).

Opera is famous for complicated plots, but “Il Trovatore” is something else! The Count di Luna(Snr.) had a gypsy burned at the stake. Her daughter, Azucena, thirsting for revenge, burns the Count’s son – or so she thought! It was her own son she had killed and not realising it, she raises the Count’s son as her own – the tenor, Manrico. So, the Count (Jnr.) and Manrico don’t know they’re brothers until it’s too late. And now, this opera of love, hate, vengeance begins.

The ‘brothers who don’t know they’re brothers’ are in love with Soprano, Leonora. It’s a no-holds-barred work all the way through with much full-blooded singing and some of Verdi’s loveliest music. Highlights are:- two marvellous and famous choruses, the ‘Anvil’ and the ‘Gypsy’, the haunting baritone aria, ‘Il Balen’, (‘The Tempest of the Heart’), the rousing tenor aria, ‘Di Quella Pira’ (with it’s thrilling High C)’, the magical Tenor-Mezzo duet, ‘Ai Nostri Monti’ (much-loved and performed as ‘Home to our Mountains’), the Tenor-Soprano duet, ‘ Miserere’ and, one of the most beautiful of all soprano arias, ‘D’amor sull’ali rosee’. And there’s much more …

“Il Trovatore” is opera at its most operatic, and, with the expected “four greatest singers” in this production, it should be wonderful – maybe as good as the memorable screening of “The Tempest” we had here last week.

Verdi’s “Il Trovatore can be seen on Tues, Jan 31st at 7.15pm.

By Jim Ryan

La La Land Review

La La Land is a romantic musical comedy written and directed by Damien Chazelle. The Movie was filmed entirely in Los Angeles and its surroundings. Chazelle has been sitting on this movie for a number of years as he was having trouble finding a studio to run with the movie as nobody was willing to invest their finances into his vision. 7 Golden globes later and most certainly a host of awards to follow including the very strong possibility of Oscar success, there will be a lot of studio’s kicking themselves over missing out on what is sure to be a massive box office success.

La La Land

The movies follows the story of Sebastian who is a struggling Jazz musician and Mia who herself is struggling to find her way in the acting world. Both meet each other in a low point in their lives when they are discouraged about their futures in there much loved chosen fields. Sebastian has just lost his job playing jazz in a music bar and Mia has just been turned down for yet another acting audition. These events lead to the two setting out together on a journey of self-discovery, compromise and of course romance which follows them over many years as they chase there hopes and dreams.

La La Land

The feel good factor is definitely set very high on this one with credit going to its main two characters Sebastian and Mia played by Ryan Gosling and Emma Stone. Their on screen chemistry is electric on the big screen. There are a lot of unknown musical numbers in here that you wont of heard of before. This was one of the main  reasons for the initial struggles Chazelle had with the studios for funding but the song choices were beautifully written and performed and will definitely not be unknown for much longer.


by Bill Tubbritt

Assassins Creed Review

Assassins Creed sees Michael Fastbender taking the lead role in this video game crossover movie from the gaming franchise of the same name. This type of videogame adaption has a pretty miserable track record with classic game titles such as Mario Bros, Warcraft & Tomb Raider having already been done with much mixed results. It might be a bit early to say if Assassins Creed will continue this trend but early signs are ominous. Assassins Creed does have the advantage of a very healthy movie budget of 125 million dollars which is very clear to see where it was used as the visual effects and stunt scenes are quite stunning on the big screen and also boasting an award winning cast of well know actors such as Michael Fassbender, Marion Cotillard, Jeremy Irons and Brendan Gleeson.

The Movie begins with a young Callum Lynch who comes home one day in find his mother has been killed by his father played by Brendan Gleeson. Quickly quick forward 30 years to present day and we find Callum now being played by fastbender has now grown up to be a career criminal and bad boy. After been convicted of murder callum is sentenced to execution but is rescued just in time and his death being faked by the Abstergo Foundation. When he is transported back to their complex he meets scientist Sofia and her father Rikkin who attempt to explain their plan to find the Apple of Eden which was created by an ancient civilization and contains the genetic code for human free will. Of course the plan involved the use of a new type of virtual reality type time machine which they plan to test on callum to send him back to 16th century Spain in an effort the find where the Apple was last hide by Callum ancestor.

This movie can be very hard to follow as the plot is very complicated and not very well explained. Can also be a little dull at times but saying that the visual effects and actions scenes do go a long way to keeping the audience entertained. Gaming fans will appreciate the videogame style cinematography which is used a lot a lot.

Rating 2.5/5

A Monster Calls Review

A Monster calls is directed by J. A. Bayona and taken from a novel written by Patrick Ness. Starring Lewis MacDougall, Liam Neeson, Sigourney Weaver and Felicity Jones who all combine together beautifully to provide us with an extremely emotional movie which deals with a young boy trying to come to terms with his mother’s terminal cancer diagnosis. Lewis MacDougal has the role of the young boy Conor O’Malley and really does an amazing job with a lot of this movies success been credited to him. Liam Neeson lend his very distinctive voice to the part of the monster who appears to Conor, this was an inspired casting choice as it fitted the situation and the message the movie was attempting to portray.

There has been a few books making its way on to the big screen over the last couple of years and very few have really worked the same way as there more successful written counterparts. A Monster Calls seems to have made the crossover quite well with a well told story which is helped largely by impressive digital animation.

a monster calls

The plot of this movies tells the story of Conor who is having a terrible time at school dealing with terrible bullying and on top of that he has to deal with the terminal cancer of his mother. Conor life is at its worse when he meets a monsters who hides in a huge Yew tree. The monster comes to tell conor stories which help the young boy to come to terms with and make some sense of why things happen in life. If you are looking for a good emotional drama then this one is a very good choice for you. Don’t worry if you find yourself getting a bit misty eyed toward the end, you definitely won’t be the only one.

Rating 4/5

By Bill Tubbritt

Léirmheas Moana

Scéal aicsin é so a bhaineann le miotaseolaíocht na Polainéise agus stair an phobal san. Tá príomhcharachtar as an ghnáth sa scannán: cailín cróga dárb ainm Moana. Rugadh mar bhanphrionsa í – “iníon an cheannaire” mar a deir sí féin – ach so an t-aon cosúlacht idir Moana agus na banphrionsaí Disney eile. Níl sí ar thóir ar phrionsa (difriúil ó Snow White agus Cinderella) nó ag iarraidh éalú ó cleamhnas (murab ionann Mulan, Elsa nó Merida). Go deimhin, ní bhaineann croílár an scéil le grá, nó le grá teaghlaigh fiú – baineann sé leis an t-aon rud nach ndearna na banphrionsaí Disney eile go dtí seo: aire a thabhairt don phobal ar a bhfuil sí i gceannas. Is féidir a rá, dá bharr, go bhfuil Moana i bhfad níos cosúla le banphrionsa stairiúil ná aon cailín eile cruthaithe ag lucht Disney go dtí so.


Níl mórán cruthaíocht ann ó thaobh an plota dhe. Más ag lorg scéal a chuirfeadh ionadh ort atá tú, b’fhearr an scannán so a scipeáil. Is féidir an scéalaíocht céanna a thabhairt fé ndeara i scannáin a tháinig roimhe. Go deimhin, níl sé deacair comparáid a dhéanamh le Frozen, ó thaobh cailín ag éisteacht lena hinstinne chun dul ar eachtraíocht; Mulan, a rinne an cinneadh a saol féin a chur i mbaol ar mhaithe lena ríocht (seachas go leithleach); agus fiú An Hobad, a chuaigh ar eachtra de bharr a bheith “roghnaithe” ag saoi cumhachtach (sin An Fharraige i gcás Moana – do chuir sé brú uirthi tosnú ag seoltóireacht, ar nós dá mba duine ann). Fé dheireadh, níl aon cor sa bplota sa scannán a chuirfeadh ionadh ar na lucht féachanna, fiú ar deireadh. Tarlaíonn gach rud atá na carachtair ag súil leo, agus cuireann an locht san as don scéal uaireanta. Ní bheadh an scéal chomh leadránach so dá mbeadh sé chomh neamhghnách leis na príomhcharachtair.


Ag trácht ar charachtair – cé go bhfuil Moana an-chosúil le banphrionsa eile ó thaobh corp agus aigne (is “leagan tropaiceach de Merida” í Moana lena gruaig chiotach fada, easpa smideadh, corp réalaíoch agus éadaí simplí – níl mórán cruthaíocht ansan d’aineoinn a bheith difriúil ó mórchuid banphrionsaí Disney), is cinnte go bhfuil sí níos “aibí” ná a comrádaí Albanach: feictear déagóir ceanndána ar Mherida agus sin an méid. Ó thaobh Moana, áfach, tuigeann sí a ról mar cheannaire an todhchaí agus ní hiad a aislingí pearsanta a chuireann ag seoltóireacht ina aonar í – d’aineoinn amhrán fonnmhar ag tús an scannáin a chuireann in iúil dúinn go léir go bhfuil sí i ngrá leis an fharraige. Níl sí leithleach. Do chuaigh sí amach ar bhád níos déanaí sa scéal, chun bia a aimsiú don phobal a bhí ag brath uirthi – agus do chuir sé sin tús le heachtraí draíochtúla chun an Máthair Nádúr a shábháil in éineacht leis an leathdhia Maui. Dá mbeadh Merida ann, gach seans gur ag cruthú fadhbanna don ríocht a bhéas sí seachas ag smaoineamh ar na daoine bochta taobh thiar!


Ar iomlán, d’aineoinn an plota intuartha go leor, is fiú go mór féachaint ar an mbeochan so ar mhaithe leis an gcultúr na Polainéise, an léiriú an-chruinn ar a miotaseolaíocht, agus go deimhin an ceol iontach saibhir – 3 amhrán dúchasacha ina measc! 

Rating 4/5


Natalia Danzmann

The Edge of Seventeen Review

Written and directed by Kelly Fremon Craig the Edge of Seventeen is an America Teen comedy-Drama that follows the life of a teenage girl dealing with growing up in a complicated world. Don’t be fooled by the description this is not another dull teen movie. This largely very young cast may not be big names that everyone will be familiar with but I think there are names you will be seeing around for a long time. Especially Hailee Steinfeld who plays the lead role of Nadine Franklin in the movie. She is definitely the main ingredient as to why this movie has worked so well, linking her character with Mr. Bruner played by Woody Harrelson provided us with some of the funniest scenes in the movie.


Good to see Woody back doing some comedy again as nobody can do dry humour like he can. The movie is classed as a Comedy-Drama and that is exactly what is it, but maybe with the slight hint of romance thrown in for good measure. Definitely Kelly Fremon Craig has covered all the bases in finding every conceivable teenage problem for Nadine Franklin to deal with.

Edge of Seventeen

The Movie starts with Nadine telling her teacher Mr Bruner that she wants to kill herself. This is done in a tongue in cheek way and My Bruner only proceeds to make fun of her. This is where the movie quickly shows us that Nadine’s main adult support comes from her teacher and that supportive relationship continues throughout the entire movie. Nadine is a socially awkward teenage girl who has only ever had one friend who whole life. After her father dies at a young age Nadine suffers with slight depression due to finding it hard to deal with that situation as she was very close to her father. She is also very jealous of her brother as she thinks he has the perfect life with his good Looks, Charm and popularity. When Nadine’s only friend starts to date her brother things change between the two friends and she finds herself on her own trying find her way through the complicated maze that is teenage life.

Edge of Seventeen

This is a very clever and well put together movie, especially with casting and the use of the characters throughout. It’s not slapstick funny but more well timed dry humour that keeps in line with the theme.

Rating 3.5/5

Review: Fantastic Beasts and Where to Find Them [Gaeilge/English]

Review by Natalia Danzmann

Scéal grá, instinne agus dár ndóigh, draíocht, atá i gceist le Fantastic Beasts and Where to Find Them. Cuirfidh an scannán seo ag caoineadh agus ag gáire thú – agus meascán den dá rud uaireanta – agus brisfidh sé do chroí fé dhó… ar bhealach atá fós taitneamhach. An bua is mó atá ag Fantastic Beasts and Where to Find Them ná, b’fhéidir, cé chomh tarraingtheach is atá sé do na leantóirí nua nach bhfaca Harry Potter go fóill. Do bhíos ag súil le mórchuid tagairtí ar eachtraí stairiúla, oibiachtaí draíochtúla agus eolas ginearálta a bhí sna scannáin eile déanta cheana féin ar dhomhain J.K Rowling: cé go bhfuil scéal an scannáin seo lonnaithe san aimsir chaite, is féidir fós an-chuid eolas a “iompórtáil” ón sraith Harry Potter – ach níor dhéin Rowling é sin an babhta seo. Feictear go soiléir go bhfuil an sraith seo dírithe ar an chéad glúin leantóirí eile.

Cinnte go gcloistear focail draíochtúla atá fuaim aithnidiúil go leor orthu – “alohomora” mar shampla – ach níl aon draíocht sa scannán nach féidir a thuiscint ón comhthéacs más rud é nach bhfuil an sean-shaothar J.K Rowling léite nó feicthe agat go fóill.

Tosnaíonn an scannán le radharc Newt Scamander, draoi gurb as an Bhreatain Mór dó, ag teacht i Nua Eabhrac le mála atá domhain eile lán le hainmhithe fantaiseacha istigh ann. Casann sé trí thimpist le cailleacha Mheiriceánacha agus le fear “no-maj” (téarma Meiriceánach a chiallaíonn “mugal”) agus é ag iarraidh na hainmhithe a choimeád sábháilte sa mála, agus cuireann na heachtraí sin Nua Eabhrac i mbaol… nó b’fhéidir gur asarlaíocht eile atá taobh thiar de na ionsaithe ar fad?

Tá aicsean den scoth le feiceáil sa scannán ó thús go deireadh, agus cuireann na héifeachtaí speisialta leis gan bheith iomarcach. Feictear feabhas suntasach sa gcaoi atá an scannán seo taifeadta i gcomparáid le sraith Harry Potter, go háirithe ó thaobh casadh tobann agus radharcanna luais: cuireadh geamhú caolchúiseach orthu, ionas nach gcuireann na radharcanna sin meadhrán ar na lucht féachanna. Is féidir sult a bhaint as an aicsean ar fad fiú má tá stair “tinneas taistil” agat.

Cuireann an scannán béim ar na hainmhithe fantaiseacha Meiriceánacha – feictear iad ag rith, ag eitilt agus ag snámh timpeall na scáthláin fiú nuair atá rudaí eile ar fad á phlé ag na carachtair. Is bealach suimiúil é seo le haird a tharraingt ar na créatúir aisteacha sin go hindíreach, go dtí go bhfuil siad lárnach sa scéal i radharc éigin. Níl aon beochan curtha amú sa scannán seo, cé go bhfuil cuma plódaithe ar radharcanna áirithe ar feadh tamall. Chomh maith leis sin, is féidir dlithe draíochtúla Mheiriceá a thabhairt fé ndeara anseo is ansiúd: níl cead ag na no-majs draoithe a phósadh, cé nach bhfuil cosc air sin sa dlí Eorpach. Seans go mbeidh miniúchán air sin sna scannáin eile atá amach romhainn?

Ar iomlán, scannán iontach mothuchánach atá ann, lán le haiscean agus ceisteanna gan freagra a chuireann thú ag tnúth leis an chuid eile den tsraith. Níl aon leabhar scríofa ar fáil dúinn ar mhaithe le spoilers, só níl le déanamh ach an scannán a fheiceáil, an-chuid sult a bhaint as, agus samhlú cén toradh a bhéas ag an scéal dochreidte saibhir seo sna blianta atá le teacht.


Review by Bill Tubbritt

J.K. Rowling is back doing what she does best with another magician tale. Many people will be thinking this is going to just continue on from our favourite Glasses wearing Wizard’s movies but that is far from the truth. Yes the main character is a wizard and the movie is set as a prequel to the Harry Potter series but that is where the similarities end. Fantastic Beasts has a completely different cast and characters and has even moved itself across the pond to America with no sign what so ever of anyone playing Quidditch or even Daniel Radcliffe.

The film stars Eddie Redmayne as Newt Scamander a young wizard who has just arrived in America from England carrying a suitcase containing lots of very strange and mystical creatures that he intends to care for as they have been rejected by the wizarding world. Newt manages to lose one of his creatures from the case which leads to him being discoved by a no-Maj named Jacob Kowalski and also (MACUSA) Magical Congress of the United States of America officer Porpentina “Tina” Goldstein. When Tina finds out that Newt is holding the Creatures in his case she miss understands his intentions and captors him and takes him to her employers at the (MACUSA). She quickly learns that the people there have sinister plans of their own. Newt, Tina and the no-Maj find themselves united in their fight against the corrupt (MACUSA) and also to find newt’s lost creatures.

Colin Farrell had quite a limited role in this and some may feel it missed the presence of a big name actor in the starring role but saying that Warner Bros Pictures, J.K Rowling and Director David Yates really kept the plot somewhat under wraps for a long time and certainly did a fine job putting the whole package together as visually it looked great on the big screen and combined with a decent storyline it really is a good watch. Don’t worry if you have not seen any of the original potter series, Fantastic Beasts can easily stand on its own two feet.

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