out of

“I don’t like human beings”

Swift shot: People say “it’s all been done” – well, kudos to Tom Six for coming up with something original.  And, there endeth the praise.  This movie sucked so much, it earned the first  ZERO rating on iRATEfilms.  There was NOTHING redeeming about watching this movie, in fact, you will be ashamed you managed to sit through the whole thing at all.  If I were these actor’s agents, I would move to Yemen and pray for a death by stoning, lest my clients find me and do far worse.

First, I heard about this one from @danieltosh, you can read his whole spoiler of the movie here.  I didn’t listen to his spoiler though, just caught the intro, which, whenever there is controversy, you are sure to find an iRATEfilms writer nearby, so, I took it upon myself to screen this disgraceful film – maybe so you won’t have to.

Tom Six directed this nightmare, adapted from the Greek myth about Procrustes, who would trick passers by to sleep on one of two beds, designed to be either too long or too short.  For the tall, he would lop off the excess, and for the short, he would stretch them out.  Considered a heinous taboo of the time, because you just didn’t betray house guests, it was the lowest of crimes.

Enter the modern, Procrustes – Dr. Heiter (Dieter Laser), a world-renown orthopedic surgeon, who specializes in successful Siamese twin separations – to him, the ultimate challenge isn’t separation, it’s conjoining.  He is hell bent, no doubt, on creating a three-dog.  But fate offers him an upgrade, when two of the stupidest girls alive, get a flat tire en-route to a nightclub in Germany.

Oh yea, the girls are American, either students or porn stars, that isn’t exactly nailed down in the First Sequence, and, yes, God help us all, there will be a sequel, already being shot.  Lindsay (Ashley C. Williams) and Jenny (Ashlynn Yennie) are tourists in Germany, just looking to let loose and meet up with a friend.  Then, on the way, they get a flat tire.  Being COMPLETELY incompetent, they decide to walk through creepy German woods at night (these are where Faery Tales usually ended up badly) and happen upon an old pervert and then a secluded house.  Since the rain is really coming down, they are desparate, because, shit, they are getting wet – there are FAR worse things than getting wet, remember that if you are ever stranded.

Anyway, they come upon Dr. Heiter’s home, and I use that term very loosely, when they enter his place there is all this REALLY INCREDIBLY CREEPY SHIT ALL AROUND THEM!  But, hey, he is nice looking enough, and they are wet, and he is German, so he can’t possibly be evil (No, the shirt is German, it says “The Bart, The”).  So, being completely void of any sense, they take him up on his offer for some, wait for it, WATER.  Hey, girls, you are soaked with the stuff, and your instinct, that little voice that should be focusing on more than fashion and music, is SCREAMING at you, “Get the Fuck Outta Here!”  So, yea, they drink the water and they spend the rest of the movie subjected to Doctor Nutjob’s surgical whims.

At one point, the doctor ventures out in town and grabs a Japanese guy (Akihiro Kitamura), because, well, why not, I guess?  So, he grabs this Japanese guy and, as the title implies, he joins all three together.  The movie is disgusting in the logistics of the joining, and where the special effects SHOULD have been redeeming, they cheesed out and used cloth material to cover the cool surgery.  So, like I said, there was NO redeeming value, the acting was crap, the German doctor was piss-poor as a villain, even the German cops who come to the “rescue” are inept buffoons.

Oh, and that quote above the dear ol’ doctor’s picture – he says that BEFORE they drink the water he offers them.  Need I say anymore about this film?  For a film to really be good, it has to be at least SOMEWHAT believable.  This was shit in and shit out – the only reason to see this film is to say, “Yea, I watched that, it was complete crap!”  I’ll give it that the suspense was decent, but again, it was so unbelievably delivered that it came across as silly, at best.

Swift shot: Mediocre scares, shocks more than anything else.  Confusing plot, confusing logic behind the overall moral of the story.  Acting was decent though, and the special effects were passable, but nothing really got to me.  In fact, I took two nights to screen this, because I fell asleep the first night, and I had zero nightmares.  Save this one for when you are desperate for a minor fright or two.

The plot takes a long time to get there, and the timing is so out of whack you never do figure out how long ago most of the events take place.  The director, Yam Laranas and his army of writers assume too much, typically a bad idea with American audiences.  You can follow along, but you really only find yourself following the story to make sure it ends how you think it will.  I can say, I honestly wasn’t surprised by much in this film.

Bobby (Jesse Bradford) was recently released from prison for man-slaughter, after he killed another guy in a bar, while the low life piece of filth was trying to rape Bobby’s girlfriend.  Of course, I would have given Bobby a medal, but, no, he had to go to prison, and when he gets out, he has nowhere to go except his, now deceased (and possibly mentally deranged) mother’s apartment, Room 519.  The first night he is there, Bobby starts to hear voices from the other room, 517.  Seems the man in 517, a cop, doesn’t play well with his family, and Bobby tries to ignore the voices coming from the crack in the wall.

As the film takes off, we meet Bobby’s new boss, Hector (Carlos Leon) and his ex girlfriend, the one he saved, Alyssa (Amelia Warner).  They are both eager to help Bobby adjust back to the civilized world, but Bobby is starting to think the noises and strange encounters with the folks in 517 might have had something to do with his mother’s early departure.  Other tenants seem to be concerned about 517 as well, but in the end, it is Bobby’s cross to bear, yet again, as he confronts the evil head on where others fear to tread.

There isn’t much that really stands out with “The Echo”, it is decent, it can hold its own, but just barely.  The characters are interesting, but where they could have made better choices I think, was in the overall buildup of the final confrontation with room 517.  Granted, the final conflict was brutal enough, however unbelievable, to warrant the 3,000 RPMs on the Thrillometer.  Don’t rent this one, wait til it is on SciFi, or SyFy, or whatever the hell they call it this week!  Save some dollars and thank me for saving you some, that’s what I am here for.

Explore all the links to experience, Assistant Editor David Limacher’s wild trip to Wizard World Comic-Con 2010, in Chicago!

“Suck it up, piss pants!”

Swift shot: Every once in awhile I will find a straight to DVD flick that I have never heard about that really should have been in theaters. This flick didn’t even make my radar when it released in 2006, but damn it was good. The acting in this was amazing, considering it starred virtual unknowns, these artists really committed to their characters.  The special effects were creepy and authentic, scoring was perfect and helped set the tone immediately and was effective to keep that heightened anxiety throughout the film.

At any rate, I read the brief Netflix synopsis and was immediately intrigued:  “Five high school buddies are abducted by aliens from a farm in Florida — but only four of them survive. Fifteen years later, the friends — whose lives have been altered ever since — return to the farm to face their enemy and seek revenge.”  That is true, but what they don’t tell you is that the film takes place fifteen years later, you never see scene one, not in a flashback or anything, with the actual encounter fifteen years prior.  In this way, it reminded me a lot of Resevoir Dogs, the actors were speaking to a crucial event that never makes it on screen.

They did a tremendous job making that event real, and kudos to the casting director, I genuinely felt for these characters, even the one you are supposed to detest, sorta – a mark of great directing too.  In my research tonight, I see Eduardo Sanchez directed “The Blair Witch Project”.  He always seems to get that from his actors, it’s like the lines of fantasy and truth are gone, and they become their characters, mind, body and soul.  If you come out of the movie caring about these characters or loathing them, the film-makers did their jobs.  Great job to all involved, special “skins off” to Cody, err, Paul McCarthy-Boyington who really gave 100%.

“Altered” shows diverging opinions on dealing with the pesky anal probes and abductions by our little green friends.  And, did I mention there were harpoons?  Yessiree – last harpoon I saw in a decent film was being fired by Axl Rose in The Deadpool!  It was like someone was sitting around the Universal Studios lot in Mouse-town and said, hey, we got this harpoon lying around here, can we use this thing?  Let’s not just use it, lets use the fuck out of it!

The film reaches several tense crescendos where you are like, Holy Shit, I can’t believe this is happening!  Screenwriter Jamie Nash added some gut-wrenching pain to the dialogue, and I still can’t get that scene out of my head.  Effective!

You have four friends who try to get revenge on one alien, but the more, shall we say, in tune leader of the proverbial pack, Wyatt (Adam Kaufman) keeps urging cooler heads to prevail.  It isn’t because he has pity or empathy for the alien being tortured, it’s because he fears the complete extermination of the human race if they kill the alien.  Typically, I side against the pacifists in these types of films, the apologists or mamby pambys who keep pleading with the “psycho” character to not kill the alien.  By the end of this film, if you still want to let the alien live, or you give a rat’s ass about it’s “pain” please don’t visit my site – you are too soft to read any of these reviews, especially H-Man’s!  In case you are wondering, I sided with the female lead, Hope, played by Catherine Mangan, whose character, like me, is a pragmatist.

Overall, this is a great gore flick with excellent characters, believable situations and enough tension to keep you on the edge of your lazy-boy.  And, to anyone who suffers from alien abduction phobia, this film may have two effects, one, it will scare the living shit out of you and make your fear MUCH worse, or two, it will serve to dampen your fear, because it is a little too extreme.  Arachnophobia helped me deal with an irrational fear of all spiders.  But, living in Florida, spiders can be lethal, and they are everywhere, can’t say the same about “greens”.

Unlike the “Signs” aliens who, one: invaded a planet that is 75% water, which is a deadly toxin to them, and two: can’t break down a basement door – yet have mastered interstellar travel.  The “altered” aliens (Foki) may look a little similar to the Signs brood, but the Foki aliens of “Altered” are just mean and vicious bastages, let me reiterate VICIOUS!

You heard it from me, you are gonna enjoy this film, rent it or buy it tonight!  Watch it with someone you enjoy watching squirm! I’ve been walking around all day telling my friends about this one, so it definitely left a mark.  In fact, one scene will be with me forever, I can’t get it out of my head – brutally effective film!  Incidentally, this is my 100th review, I hope I don’t make the Foki’s radar!

A film about men who hate women, among other things…

The H-Bomb: Disgraced journalist Mikael Blomkvyst (Michael Nyqvyst) has just been convicted of libel and steps down from the magazine he created, Millennium. But before he has time to stew over his losses, he is hired by Henrik Vanger (Sven-Bertil Taube), an elderly business man who‘s a member of the wealthy and powerful Vanger family, to investigate the disappearance of his niece, Harriet, who vanished some four decades ago and is believed to have been murdered.

At first Blomkvyst seems to be getting absolutely nowhere in his investigation, but out of the blue he is helped by a computer hacker named Lisbeth Salander (Noomi Rapace), an emo-ish goth chick who has some… er… issues of her own, to put it kindly. Lisbeth ends up joining Blomkvyst’s investigation and the two strike up an unusual relationship while digging into the mystery, discovering a link to Harriet’s disappearance and the murders of other young women, and uncovering some very dark secrets about the Vanger brood.

Okay, where to start, where to start. “The Girl with the Dragon Tattoo” is a Swedish import that is the first part of the “Millennium” trilogy, which is based on a series of books that is insanely popular in Europe. I’ve been reading the hype and praise for this for a good long while, with reviewers giving it four and five star ratings and calling it things like “Brilliant!”, “Amazing!”, and “A Mind Bending Thriller!” I was actually really looking forward to this one… well, you know how too much praise can be a bad thing?

When I finished watching this for the first time (notice I say first time), my reaction was simply “Meh. That‘s it?” I mean, can we say over-hyped?! Don’t get me wrong, I thought it was a perfectly decent film, but I wasn‘t amazed or blown away. I certainly didn’t think it was any kind of a masterpiece, and I felt it had a lot of problems. Mainly, on first viewing, I found it to be very unfocused, where it kept going off on tangents that just seemed kind of pointless to me. Lisbeth being jumped in the subway by a pack of young hooligans, flashbacks to her as a child setting a car on fire, and an entire first act subplot about her being sexually exploited by her social guardian (Swedish version of a parole officer, I guess). These, amongst other things, seemed extraneous and distracted from the central murder mystery.

The mystery of the missing, dead girl was very intriguing, and that aspect of the film kept me completely immersed. I also thought the performances by both the leads were superb, and the chemistry between them was quite compelling. The film is also strikingly well directed (by All Niels Arden) in places… but goddamn, there just seemed to be so much fat in the movie – things that seemed irrelevant to the main plot that made it all seem so unnecessarily drawn out, that it really just muted the impact of the entire picture for me.

On top of all that, this movie also has enough false endings to give the third “Lord of the Rings” film a run for its money. At some point, during the fifteen minutes or so, I was literally chanting at my TV “End! End! End! End!!!!” Then it FINALLY ended… thank Christ for small favors.

Now, that was how I reacted the first time I saw the film. I did give it a second go, and while I still find it bizarrely over-rated by the uber-hip, we-love-all-things-foreign latte slurping cinephiles, something did strike me on the second viewing. Bear in mind, I have not read the books or seen the later films, so I’m simply venturing a guess, but it occurred to me that this is the first part of a trilogy, so many of the elements that seemed out of place and gratuitous to me the first time around will probably be of greater significance in the sequels, as the characters are developed further, particularly Lisbeth (like why she’s as royally fucked up as she is). So that considered, I was more forgiving of those elements on my second viewing and enjoyed the film considerably more.

Again, though, I still don’t think this is the modern classic that many proclaim it to be. There are still pacing issues, the movie is still too long, and there are many, many scenes of characters looking at old photos, newspaper stories, and doing online research, which I’m sure work fine in the book, but in the film, they’re not very cinematic nor exciting to watch. Another issue is that there are so many characters and names to remember that unless you’re paying the strictest attention, you could lose track of who’s who and who’s what to who very quickly. This is definitely not a “check your brain at the door” type of film.

After all is said and done, I did like this movie, despite my criticisms. It’s a sophisticated, well crafted, ambitious film with very richly developed characters and the performances are top notch. It, as I’m sure you’ve heard, is being remade in the U.S. with David Fincher directing and Daniel Craig starring, and even though I loathe this remake trend, I must confess that I am interested in seeing what they do with this story. I do recommend it overall, but I must warn you to take the hype with a grain of salt.

“It’s halothane.”

Swift shot:  A Swedish vampire film, complete with awkward attire, dated dialog and a touch of the surreal.  If you are sick of the melodramatic crap America is forcing you to endure – romantic, gift-wrapped vampires – add this to your Netflix instant-play and grab some Absolut, you’ll need it.  Lina Leandersson portrays the wretched creature in a commanding on-screen performance that all aspiring actresses should follow.  Her character, Eli, simply . . . IS – and this little Swedish actress will terrify you with her pragmatic delivery.  At times, you’ll forget she is just wearing a mask for your entertainment.  It’s one of those roles you are pretty sure still stares back at her in the mirror long after director Tomas Alfredson called a wrap.

“Låt den Rätte Komma In” is based on a 2004 novel written by John Ajvide Lindqvist of Sweden.  The novel gained international attention and was finally realized as a film in 2008.  I saw some screen captures of this film via a Facebook acquaintance and decided it deserved a screening, despite the lame title.  Glad I opted in on this one, because it didn’t disappoint . . . mostly.

Immediately, I was drawn to the almost albino teen, Oskar (Kåre Hedebrant) who essentially reminded me a lot of myself at that age . . . brooding and twisted. Living with his mother most of the time and seeing his father occasionally, Oskar lives in the periphery of life.  He has a voyeuristic nature and is a curious spectator to his surroundings.  Oskar is constantly bullied at school by a group of kids not much bigger than him and not much different than him ultimately.

But with one interesting utterance “Squeal like a pig” Oskar attracts a spectre, Eli.  From her first line, she makes it clear that she can’t be friends with Oskar, to which Oskar replies, “What makes you think I want to be friends with you?”  Perhaps it was this small act of defiance that ultimately draws Eli to Oskar – or maybe there is a more sinister desire behind her attraction.  To the outside world, she is all of twelve years old, but inside she is an ancient force, a monster in every sense of the word.  The creature your grandparents warned you about in the woods or the creep up your spine when you think you are alone in some desolate place.

Some of the acting by supporting cast really sucked, even with the subtitles, I can tell a forced delivery when I see and hear it.  The townspeople, notably failed to impress me and cost this one a higher rating – calling you out Peter Carlberg and Ika Nord.  The special effects will underwhelm most American audiences, but it’s clear director Alfredson wanted a subtle, believable approach to the super-natural.  And, really, American audiences are spoiled with the stuff we see nowadays – it was refreshing to see toned down special effects, which turned out to be the creepiest scenes anyway.  I already see the American version, “Let Me In” is going with a more fantastic approach, shame really.

Overall, this film will crawl up your spine and force you to think, is it love that drives Eli, or is it sinister survival.  If nothing else, this film will get you talking with all your horror-film loving friends about what they took from it.  And, oh, be warned, there is some very inappropriate content towards the end that you will NEVER find in an American film.  Don’t say you haven’t been prepared.  Watch this one, then let me hear your comments, was it love or something else?

Swift shot:  Emotional, superb acting and believable performances that will haunt you – sometimes the best horror films aren’t horrors at all.  Sometimes survival is its own hell.  To my brothers in harm’s way, know that you can always rely on the truth – Semper Fidelis.

Took me a long time to finally watch this one, it sat on my desk . . . daring me to open the oddly fastened Netflix sleeve for a whole week.  I was afraid it would be yet another pandering Hollywood sneer at our forward operating troops deployed in combat zones.  It’s hard to pin down if this was an out and out criticism of our efforts overseas, or if it was just a matter-of-fact – War is truly horrible – message film.

Certain elements in the film brought me back to an abandoned rail-station in Albania, where we were debriefing prisoners of the Kosovo conflict and I was reminded of soulless eyes, shells of men, broken hearts and minds – desperate to embrace normalcy. To endure all manner of torture, you must have something to live for, some “other” that keeps you moving when the easiest thing is to just shut down and die.

I have often wondered about those souls, the “survivors” what were their lives like after the war?  Were they able to embrace that normalcy again?  Were their minds so twisted that even the slightest nuance of happiness was robbed from them?  Do they sleep?

This film brought the war home, but the sadness and hostility were underground, buried in some chasm of moral apnea.  Watching Captain Cahill interact with his family before “breaking” and afterward was expertly portrayed by the dedicated Tobey Maguire.  For his dedication to the role, I applaud him; at no time did he disappoint.

Brothers will have you struggling to fathom your own mortality.  Choices we make to survive remind us we are all gonna end up in the dirt.  It is what we live for outside of ourselves that dares us to stand up to death and say with baneful conviction, “Fuck you, death, not today!”

While the juxtaposed sequences danced back and forth between the war and the family, the overall transitions were somehow diluted and less powerful than the rest of the film.  Perhaps some stronger scoring was in order, but overall the film intellectually was stimulating.  The acting, as mentioned earlier, was precise – even the youngest actors were amazing – well disciplined (if you will permit a little jarhead inside joke).

It isn’t easy to talk about the wars, it isn’t something that should be taken lightly.  War is hell; Brothers does a decent job exploring this theme, but it doesn’t have enough balance to be a really incredible film.

The H-Bomb: The entire planet has been devastated by some unspecified catastrophic event. All of the animal life and most of the plant life has been completely destroyed. Society has collapsed and human beings have, for the most part, regressed back to a savage state, often resorting to cannibalism in order to survive.

Wandering through this ugly, barren, post-apocalyptic world are a Father (Viggo Mortensen) and his young Son (Kodi Smit-McPhee) who struggle to get by any way they can, while trying to maintain their own humanity in this literal Hell-on-Earth.

From the above synopsis, it’s pretty fair to say that this is not a candidate for “Feel Good Movie of the Year.” In fact, if anything, it’s a shoo-in for “Most Depressing Movie of the Decade,” right alongside “Children of Men”, “Million Dollar Baby”, and “Sex and the City 2”. Based on the Pulitzer Prize winning novel by Cormac McCarthy (“No Country For Old Men”),  “The Road” is dark, grim, and relentlessly downbeat, with practically no moments of levity to be found anywhere.

That said, it’s a beautifully made, thought provoking film that examines two key aspects of human nature: hope and survival. The Father and Son struggle so hard to survive in this brutal, frightening, desolate world. A world that is devoid of any hope for any kind of a positive future, that I had to ask myself, “Why? Why are they even bothering?” The Father even carries around an old revolver, loaded with only two bullets, one for him, and one for his Son. Yet we get the sense that no matter how dire things get, he will never be able to bring himself to use it.

It’s the undefined hope, the vague notion that there is something better out there, that motivates these two to forge ahead. That, to me, is the ultimate point of this story; even in the worst situations imaginable, ones that would cause many to revert back to barbaric savagery, there are good people who will always retain hope, and the will to survive.

As directed by John Hillcoat- who made the equally bleak Aussie western “The Proposition”- the film has an appropriately cold, dreary, colorless look to it. It’s the look of a cruel, dying world, and was perfect in selling the shear desperation of its inhabitants. As the Father, Viggo Mortensen is excellent, as he is in everything, even in shit like the “Psycho” remake. Here he is perfect as a calloused, hardened man who is only driven on by his love for his Son.

Young Australian actor Kodi Smit-McPhee is also terrific as a boy who has grown up in this shit hole of a world, which has forced him to mature beyond his years. Charlize Theron appears in flashbacks as Mortensen’s practical, but not exactly sympathetic wife, and Robert Duvall has a poignant cameo as an old loner who the Father and Son meet on the road. But for most of the film, the Father and Son are alone on screen, as they scrounge around for food, seek out safe places to sleep and stay warm, and of course, avoid those nasty, unpleasant cannibal gangs.

Again, this ain’t no date movie. This is an incredibly dark, depressing film that is not for everyone. It’s a very difficult movie to enjoy and many will come out of it feeling like they’ve just been to a funeral (or like they’ve just spent a weekend with their in-laws). However, for those of you who look for more in a film than just two hours of car chases, explosions, and fart jokes, I would say that “The Road” is a journey that is very much worth your time.

Gentlemen Broncos is the story of a young man, Benjamin (Michael Angarano) an aspiring science fiction writer.  To hone his skills, he attends a writer’s camp.  He has been working on a novel, humbly penned “Yeast Lords”.  The main character of his eccentric novel is Bronco (Sam Rockwell).   Benjamin’s mother Judith (Jennifer Coolidge) is his biggest fan and has also home schooled Benjamin his whole life.While venturing out to his author’s camp, he encounters two new creative thinkers Tabatha (Halley Feiffer) and Lonnie (Hector Jiminez). Tabatha writes French novels, and Lonnie is a producer/director of movies and trailers.

When they arrive at camp, Tabatha asks to read Benjamin’s story “Yeast Lords” and seemingly gets turned off by it immediately.  She has low expectations of Benjamin’s overall success.  But Benjamin is thrilled to discover his idol, Dr. Chevalier (Jemaine Clement) will be a guest speaker at the camp.  The doctor also announces he will be gathering samples of the student’s writing – the winner will have their story published and sold in book stores across the United States. Benjamin finds out rapidly that idols aren’t always what you expect in the flesh – he is underwhelmed and a little disgusted.  Still, Benjamin does turn in his work, “Yeast Lords”.

Chevalier is not only a self-important prick, he is a failure as a writer, and his publishers are putting pressure on him to produce something good . . . or he is off their gravy train. Fortune favors the fool; though, and Chevalier rips through the submissions and finds Benjamin’s Opus – “Yeast Lords” – and he can’t put it down.

Benjamin leaves camp to find his mother has assigned him a “Guardian Angel” from church, his name is Dusty (Mike White) and is a REAL piece of work. Dusty has his own blow dart gun and he dips the darts in a mixture of rat poison and his own feces! With all this excitement, even more good news is coming Ben’s way as his friends from camp let him know they want to shoot his novel into a film – a trailer is in the works.

Meanwhile Chevalier has reworded and changed “Yeast Lords” to be more suitable for his liking; changing Bronco’s name to Brutus, and also making Brutus a Transvestite. (Sam Rockwell was hysterical when playing Brutus) Benjamin learns while filming the trailer that Lonnie has come into some money and will pay $500 for the rights to “Yeast Lords”. Benjamin quickly agrees and they begin filming with Dusty playing Bronco.

What happens next is fairly obvious, Chevalier is eventually confronted when his new novel “The Chronicles of Brutus and Balzaak” is revealed and Benjamin recognizes it right away – as “Yeast Lords”.  The film picks up and just keeps going into a frenzied crescendo at this point.  All things come to a head, as Benjamin has to reclaim his idea – his idol has betrayed him.  What will he do?  What would you do?

This movie was very funny, and very well done. The fact that it was written and directed by the same guys who did Napoleon Dynamite might give it a little bit of an audience. I will warn you this has similarities to Napoleon Dynamite, but all in all is not really the same. The performances given by all were really well done, but the performance of Sam Rockwell was GENIUS!!!! He really made a decent movie that much better and that much funnier.

I suggest this movie for anyone who has ever read an Issac Asimov novel or just enjoys science fiction. This movie is not life changing or even remotely close, but the characters do grow on you, and it does a good job of making you feel for Benjamin. I say if you’re looking for a movie and a few good laughs, check this out, cause it is well worth the price that you’ll pay to see it!