A month or two ago, I watched "Crime Scene University", a Discovery Channel show about forensic investigation. Some of it was pretty interesting, but a good portion of the show was overproduced and clearly hacked to pieces in order to create dramatic arcs for each episode. Now, we have Discovery Health's "Dr. G: Medical Examiner", following Orange County medical examiner Jan Garavaglia as she investigates the bodies that are brought in for autopsy. Once again, the show is fairly interesting, but the voice-over narration, bumpers, and editing are all somewhat desperate grabs for viewer attention. "Dr. G" also introduces an all-new factor: the inability to show the majority of what the show's actually supposed to be about.

IMDb shows that these episodes are surprisingly old: "Dr. G" has been on the air for five years, and this first season set collects 12 episodes that were first broadcast between Octo...Read the entire review

I don't know how long ago it was, but I have a vague memory of watching the sixth episode of "Fawlty Towers". Either I just happened to click over to it on late-night TV or I had dug up an old family VHS recording taped off of PBS, but watching the episode, called "The Germans", in which Basil Fawlty (John Cleese) gets knocked on the head and suffers a concussion, I laughed loudly enough that I was told to stop out of fear that I would wake my mother up. However, a couple of years later, I bought the DVD set to finally see the whole series, and it was a markedly different experience. I hate to admit it, "Fawlty Towers" is one of those shows I just don't love. I definitely don't dislike it, and I think John Cleese is a talented writer and physical comedian, but turning the show off that evening apparently put some sort of permanent damper in my brain, because I think the series' status as one of ...Read the entire review

Hanna D: The Girl From Vondel Park is an Italian sexploitation film from director Rino Di Silvestro (director of Werewolf Women) that the DVD box cover suggests was once lost and is now found. I'm not sure they found all of it. Despite all the supposedly extreme content, the first thing the viewer is bound to notice is how little sense it makes, transitioning from scene to scene without any awareness or interest in crafting a logical story, just trying to rush Hanna into the next appalling scenario.

We first meet Hanna (Ann Gisel Glass) on a train to Amsterdam from...uh, somewhere, where she's already selling a peep show starring her body to random passengers, with the help of a strange man who subsequently vanishes. She's apparently on her way to live with her mother (Karin Schubert), but the two hate each other so much I don't know why Hanna left wherever she was at all. Eventually (a...Read the entire review

I'm a glass half-full kind of guy, and that optimism applies to my taste in film. I don't automatically consider an absence of great things to be a bad thing in and of itself; from there, the film still has to actively aggravate me or I'll find stuff to latch onto. I often end up in the minority on movies, especially slight comedies like I Love You, Beth Cooper, not because I liked them so much more than everyone else, but rather that I didn't hate them so fervently. As far as I'm concerned, I Love You, Beth Cooper is perfectly alright -- not great by any stretch of the imagination, but I didn't think it was the travesty that many critics (including all three Read the entire review

Take a minute and ponder the moral perfection of "Button, Button", the Richard Matheson short story on which the The Box is based. The film uses an Arthur C. Clarke quote a couple of times -- "Any sufficiently advanced technology is indistinguishable from magic" -- and personally, I find Matheson's story similarly entrancing. It's amazing how many layers there are to it, and how carefully it appears to be designed, at least as presented here by Donnie Darko writer/director Richard Kelly: a stranger first leaves a locked device with a button on top, allowing the recipients to ponder it until 5pm, when the stranger returns to explain that if the recipients press the button, they will a) receive a million dollars, and b) someone they don't know, somewhere will die.

The stranger in Kelly's film is Arlington Steward (Frank Langella), which adds another air of mystery. Steward has a burn woun...Read the entire review

I sat down to Disney's new big-budget adaptation of A Christmas Carol not knowing what to expect. I have read the original Dickens story but never seen any other adaptations that I can think of, other than Muppet Christmas Carol and an episode of "The Real Ghostbusters". I also enjoyed Robert Zemeckis' adaptation of The Polar Express, one of his previous films to use the high-tech motion-capture technology he's so enamored with, but I skipped Beowulf, his follow-up effort. The trailer for A Christmas Carol didn't give me much faith, but I popped on my 3D glasses and prepared myself to be dazzled. What I got was a baffling experience.

I have seen many movies, but I can't remember any that were quite like A Christmas Carol, which, sadly, is not an endorsement. It's the strangest sensation: Zemeckis' version of the story has almost no forward momentum. Obviously...Read the entire review

Most filmmakers fall into one of two camps: those who make films as art, and those who make films as entertainment. Me, I don't think the gap is that hard to bridge, but for some people, the idea that their work might cross over from the intended side to the other is just horrifying. Sally Potter's independent film Rage is a single-camera "interview" movie that simply seats each of its actors in front of a greenscreen (which changes several different solid colors in the movie) and lets them talk to the camera. This is the kind of premise with the potential to bridge that gap; artistically, it's minimalist, reducing the craft of the filmmakers to the bare elements (something that always excites high-minded auteurs), but many of these faces are familiar, and depending on their topics of conversation, there's nothing that says the end result has to be philosophical or intellectual.

Rage is...Read the entire review

On the way to a wedding five or six years ago, I bought a CD to take with me, and I spent most of the trip thinking about a girl and listening to the CD over and over. Anytime I cue up the music on my iTunes today, I'm immediately whisked back to that trip; it's ingrained in my memory of the experience. It elevates the music -- which I doubt most people would consider "good" -- to a personal level, even years later. Where the Day Takes You reminds me of that CD. Personally, it's a slightly-above-average drama with a good performance or two, but I imagine it means more to some people for the same reasons that music is important to me.

My guess is, the most enticing thing to a modern audience about Where the Day Takes You will probably be the chance to see an ensemble of famous actors in the up-and-coming stages of their careers. Dermot Mulroney, Sean Astin, Lara Flynn Boyle and Balthazar...Read the entire review

Thanks to the indelible cinematic accomplishments of writer/directors Jason Friedberg and Aaron Seltzer, the world has lost patience with the parody film. I saw Date Movie on DVD and thought it was just mediocre; nothing special, but it had a handful of okay gags and was far from the gross-out lows of the unwatchable Scary Movie 2. Then the duo unleashed Epic Movie, a film I haven't seen all of (and absolutely never will) but one that easily qualifies as one of the most aggressively, excruciatingly unfunny spectacles I've ever witnessed just on the strength of the ten or twelve minutes I caught on TV at work. Since then, the duo have only reportedly sunk lower with Meet the Spartans and Disaster Movie, and now anything of the ilk is ...Read the entire review

Recently, I volunteered to review the indie comedy Creating Karma for Boxoffice.com. The press notes boasted that writers Jill Wisoff and Carol Lee Sirugo decided to give up trying to find comedic roles for women and take matters into their own hands by writing one themselves, a cause I thought I might be able to get behind. Unfortunately, the film turned out to be a serious competitor for the worst movie I've ever seen. Over the course of seven or eight grueling hours, I slowly, forcibly dragged myself to the end of the 90 minute film, often groaning out loud at each painfully exaggerated facial expression, each amateurish Windows Movie Maker transition and each excruciatingly unfunny joke.

One week later, I started watching The Sexy Box, a collection of early Troma sex comedies (pre Toxic Avenger!), and a confusing cloud of d j vu settled over me. The four films in this set --...Read the entire review

An invisible wall stands between myself and An Education. Others are quick to praise young star Carey Mulligan as Jenny, and they're certainly not wrong; she stands head and shoulders above the rest as the best part of the movie. However, the movie's story is overwhelmingly, suffocatingly predictable; it's not that the outcome is merely logical, but that the writing and direction, by Nick Hornby and Lone Scherfig, respectively, never raised my pulse in the slightest or threatened to make my heart skip a single beat. Having never been (and not likely to ever be) a sixteen-year-old girl, I was already at a distance, but none of the filmmakers make the slightest effort -- other than casting Mulligan -- to try and draw me in.

For one thing, we have Peter Sarsgaard as the supposedly dashing David, a wealthy-looking man of taste who appears at Jenny's bus stop and offers to, at the very least, drive...Read the entire review

There's at least one perfectly-written scene in Planes, Trains and Automobiles, and it comes near the beginning. Neal Page (Steve Martin) ends up stuck in Wichita when his plane makes an emergency landing, and the only help he has is from his seat-neighbor Del Griffith (John Candy), a motormouth shower curtain-ring salesman that Neal has grown to hate over the course of the flight. Del has a hotel reservation when everywhere else is booked, so Neal reluctantly agrees to room with him in what turns out to be a one-bed room. After several speed bumps, Neal and Del are bunked up together, and Neal is on the verge of sleep when Del starts clearing his throat, over and over again. Neal tries to ignore it, but around the twenty-fifth cough, Neal gets out of bed, unleashes a...Read the entire review

Note: The program is "Not Rated", but for the record, it seems like a G.

As a kid, I never got the hang of saving money (I still haven't, really), and I would flip through toy catalogs wishing I could win the lottery. One of the catalogs I started to get was the Playmobil catalog, and I think if I could have had any type of toy I'd have just barely picked Playmobil over Legos. Something that has always fascinated me about miniatures and toys is the accessories, and Playmobil's were the best. Police sets came with tiny stop signs, cones and fire extinguishers, a family camper set packed in two bicycles, a table and dishes. I can't pin down why I liked how elaborate and meticulous all of this stuff was, but it looked pretty awesome to me.

Browsing the DVDTalk screener pile, I noticed that the Playmobil line is alive and well, delving into alternative entertainment waters that's been ser...Read the entire review

It seems to me that "jackass" has quietly passed that line where the show goes from a cosmic present-tense to a past-tense; the show is just about to hit its' 10th anniversary, and it's weird watching the new DVD The Lost Tapes and feeling like the show is a product of a bygone era. People criticize MTV for exhibiting less edgy material like "Beavis and Butt-Head" and "The Real World", but "jackass" is clearly -- and deservedly -- etching itself into the network's list of influential programming.

I saw bits and pieces of "jackass" in reruns and heard the buzz from everywhere else; it wasn't until the crew made jackass: the movie that I finally caught some of it. Thus, what's striking to me about The Lost Tapes is the true guerrilla nature of the production. The jackasses of the movie and number two seem like a troupe of insane stuntmen testing their limits, whereas ...Read the entire review

Note: Some elements of this review have been taken from my theatrical review of Land of the Lost, although it's mostly different.

It pains me greatly to say that Universal had a terrible summer, and second in the studio's string of bombs (following Sam Raimi's Drag Me to Hell) was Land of the Lost, currently limping onto DVD and Blu-Ray hoping that somehow, some way, it might scrape back another chunk of its massive budget. I can't imagine why Universal spent so much money on the movie in the first place: only four films starring Will Ferrell have ever grossed more than $100 million at the box office, numbers that start with Elf and progressively shrink. Even then, $100 million is still not even close to the $300 million the old "production-budge...Read the entire review

Despite what it says at the local Blockbuster, "Kids" and "Family" are not genres. I suppose there's nothing inherently wrong with separating movies for kids from movies for grown-ups, but it's important to remember that within those divisions, the same genres still exist. This knowledge is key to understanding Where the Wild Things Are, director Spike Jonze's adaptation of the award-winning children's book by Maurice Sendak: If The Goonies is kids' adventure, Flight of the Navigator is kids' sci-fi and Gremlins is kids' horror, then Where the Wild Things Are is the rarest of all, a genuine kids' drama, and it is a stunning one at that.

Being a kid is generally referred to by adults as "simpler times", but just because you don't have responsibilities doesn't mean everything is easy or handed to kids on a silver platter. The other day, I drove past a grade-school kid...Read the entire review

At my blog, I've been trying to keep tabs on the number of remakes they announce. I haven't been doing a perfect job, but last time I updated the tallies, Hollywood had started the ball rolling on 28 remakes this year, from An American Werewolf in London to Videodrome. I'm not a hater, I think plenty of remakes have completely justified their existence. For instance, I gave good marks to The Last House on the Left earlier this year (to my own surprise), and the recent trailer for Platinum Dunes' A Nightmare on Elm Street shows that the film will, at the very least, be visually stunning thanks to music video director Samuel Bayer. That said, having watched the 2009 TV version of Children of the Corn, I now have a solid example of the exact opposite: I can't concretely identify anything about the film -- other than everyone's desire to work -- as a driving force or reas...Read the entire review

The Children is one of those movies -- the kind which, just when they're about to get good, trip themselves up ever so slightly, tarnishing but not ruining the intended moment. It leaves me with a conundrum: do I dock it for the little bits it does wrong or praise it for being as good as it gets?

Well, first, let's see what the movie does right. Creepy children is definitely a plus. I think everyone knows that it just takes the right kind of push to bring out the slightly-hidden terror of little kids. Just like clowns and ventriloquist dummies, they teeter on that brink, and writer/director Tom Shankland does a good job of making the brood in his film seem like Damien's daycare buddies or lost denizens from the Village of the Damned. What's most distressing, though, is how that push is so soft as to be almost invisible; the kids continue to laugh and play while Shankland uses musical an...Read the entire review

Three things I've learned during my time as a hardcore film lover: horror movies often suck (any moron with a camera can mix up some fake blood), sequels usually suck, and almost invariably, direct-to-video movies really, really suck. Therefore, logic suggests that Wrong Turn 2: Dead End should be appallingly bad, given that it was a direct-to-DVD sequel of a horror film that I didn't even like, despite Eliza Dushku in a wifebeater doing her best to keep my attention. Yet, Dead End is a stylish splatter film thanks to director Joe Lynch, which not only packs an awe-inspiring opening credit sequence (funny and strikingly directed on top of being a masterpiece of gore) but perfectly utilizes the ass-kicking Henry Rollins as the film's star. Wrong Turn 3: Left For Dead doesn't have Lynch at the helm, nor Rollins in the lead (or Dushku, for that matter), but it's still leagues b...Read the entire review

Early in iMurders, the film cuts to Seamus St. Martin (Academy Award-nominee Charles Durning) and Janet Ling (Miranda Kwok, in one one of the movie's worst performances) sitting in a room together, drinking tea. Ling is tapping her feet on the floor (six taps in groups of three, or 6-6-6), and Martin asks why, with Janet explaining that it doesn't have anything to do with her mother. The problem with this scene is that I have just summed up the entirety of both the scene and its context in the film. You, the reader, no doubt are unsure of who Seamus St. Martin is and his relationship to Janet, but other than a single shot earlier in the movie of Janet logging onto a chat room with different characters, this is all the information there is up to that point. Eventually we learn that he is her psychologist, but during those scenes, the movie introduces more confusing details, like a lesbian affair ...Read the entire review

I have never been religious, but here I am with Mercy Streets, a film produced by ChristianCinema.com with themes of redemption and rebirth. Yet Christianity doesn't play much of a role in the qualities of the film. Even with little to no understanding of the Bible and despite a hokey plot riddled with clich s, the first 60 minutes of Mercy Streets are surprisingly good, especially for a film that seems to have sat on the shelf for almost a decade since its limited theatrical release way back in 2000, and when the film fails, it fails due to lousy screenwriting and clumsy direction. It just goes to show, no matter who the intended audience is, the same rules still apply.

David A.R. White plays John Davis, who we meet on the day of his release from prison. John is picked up by his former partner-in-crime, Rome (Eric Roberts), already planning for what John insists will be his last job. I...Read the entire review

Before I wrote for DVDTalk, I was a reader, and it was Eric D. Snider's review on this very site that convinced me to blind-buy the first DVD set of "It's Always Sunny in Philadelphia" before heading home from work one night. I didn't regret it; that DVD set was seventeen episodes of inspired offensiveness, starting with episodes like "Charlie Wants An Abortion" and slowly ascending to the glorious peaks of "Dennis and Dee Go on Welfare", "Hundred Dollar Baby" (a genius episode title if I've ever heard one) and "Mac Bangs Dennis' Mom". A year later, though, I picked up Season 3 of my own free will and had a vastly different experience. I felt like the show had gained complete freedom to go broader and broader in an attempt to one-up itself, and instead of helping, it was sabotaging the ...Read the entire review

"Alright, nobody move, or...I'll eat this guy, right in front of you!"

Cannibal! The Musical stands out to me for interesting, unusual reasons. It's one thing to look at the movie as part of Trey Parker and Matt Stone's road to creating "South Park" and movies like Team America: World Police, but it's interesting how little -- and I mean that in the nicest way -- the duo changed between 1993 and the debut of their hit TV show, and even through to today. I can easily imagine a world without "South Park" where Parker and Stone kept working for Troma, still creating films as ridiculous as a puppet musical and characters as hilariously low-brow as talking excrement, just with severely reduced budgets. It's not to say that Cannibal! is perfect...Read the entire review

The invention of Blu-Ray, or, more likely, the invention of Wal-Mart, has had a side effect I'm a huge fan of: the multi-film DVD. With standard-def DVDs becoming less and less individually valuable, studios have started sticking their most popular catalog titles onto double-sided discs and into multi-disc sets without the premium price tag that would be associated with a box set, and as someone with around a thousand DVDs, not only do I love the chance to get several movies I wanted for the price of one, but also the convenience of having several films stuck snugly into a single-width case. The multi-feature business was at its recent peak in late 2007 and early 2008, but now, just when I was afraid the fad was dying, Warner has swooped in, partnering with Turner Classic Movies to put out several new four-film sets of classic movies. TCM's Horror set packages up three movies I've been meaning t...Read the entire review

Note: The first section of this review is taken wholesale from my theatrical review of Drag Me to Hell, because my opinion of the movie in theaters vs. seeing it again on DVD was, for once, exactly the same.

Drag Me to Hell is the kind of movie that would have brought a smile to the face of infamous showman director William Castle, who would hide buzzers in seats and dangle plastic skeletons on wires to get an amused reaction from movie audiences. Critics often compare movies to rollercoaster rides, and Castle might have suggested someone hook co-writer/director Sam Raimi's return to the horror genre up to an actual rollercoaster, so the audience could get flung around like poor heroine Christine Brown (Alison Lohman) as she desperately tries to escape a curse place...Read the entire review

When I saw Crash for the first time in 2005, I was conflicted. There are some excellent performances in the movie from Michael Pe a, Terrence Howard, Ryan Phillippe and, to a lesser extent, Matt Dillon and Thandie Newton, yet they're on the verge of drowning in a deep, thick stew created by the contrivances and stereotypes littering the screenplay, co-written by Bobby Moresco and Paul Haggis, and glossy, melodramatic direction on Haggis' part. Since that screening, the film became buzz material, an Oscar nominee, an Oscar winner and the target of some serious backlash.

Now, in 2009, just as the movie was turning into a distant, forgotten memory, we get "Crash", Starz's first venture into original programming. The resulting product shows that while those intervening years may have been spent on many things, upgrading the writing wasn't one of them. Worse, the TV show adds the striking sensation...Read the entire review

There are numerous problems with the sci-fi horror film Pandorum, including some really bad dialogue, corny sequences, poorly-written characters and a clunky twist. What works, though, and works well enough throughout the entire movie to eke out a recommendation from myself as a B-thriller, is the sense of isolation. When Corporal Bower (Ben Foster) is awakened and crawls out of a cryo-tube at the beginning of the movie, he finds himself in an ominous, pitch-black environment. Even after Bower awakes Lieutenant Payton (Dennis Quaid), the overwhelming, oppressive sense of the empty unknown before them remains.

Pandorum opens with a brief history detailing how overpopulation and food and water shortages have crippled Earth during the 21st century, before introducing us to Bower and Payton, the fifth crew shift on a ship called the Elysium. Their job: pilot the ship to Tanis, an Earth-like...Read the entire review

Cops and detectives are my cinematic weak spot. Very little pleases me more than a good mystery, wrapped in powerhouse acting, sprinkled with clever dialogue and topped with a dash of stylish direction. On the other hand, I feel the polar opposite about soap opera "drama", especially when it's delivered by characters that are any younger than 30. Still, I can see why it makes sense to combine the two, since they both hinge on clever, rebellious protagonists, thuggish romantic rivalries and manipulative, calculating women. All of these elements come together wonderfully in Brick, writer/director Rian Johnson's 2005 cult flick starring Joseph Gordon-Levitt in one of his best performances. Now, four years later, we have Assassination of a High School President, a ...Read the entire review

Feminism in movies and television is more than a double-edged sword. There are so many ways to approach the definition of "equality", it makes speaking one's mind on the issue similar to walking a minefield. From where I'm standing, while there's obviously an overwhelming imbalance of entertainment for men vs. women, I feel like most "feminist" movies overcompensate by being so completely directed at women (women playing all the central roles in a story that will hold little appeal to men) that they become exclusionary. Now, I admit, to a woman starved for specific entertainment, that may sound stupid, but hear me out: instead, I propose using the point of view of just one or two women as a through-line in a story with more mass-audience potential. With ...Read the entire review

Every couple films, I've noticed something really odd about Touchstone Pictures. I'm not attacking the studio; they've made plenty of good movies and will undoubtedly make more, yet sometimes I feel like they have a computer hidden away on their lot with a fill-in-the-blank interface for "blockbuster" movies. Just type in a mildly clever idea, add some actors (at least one megastar), press "Start" and out pops a pre-packaged motion picture, sealed neatly in clear cellophane, ready to be delivered to audiences with a minimum amount of effort. Surrogates is one of those movies. The idea of a future where people experience life through mind-controlled androids is just good enough to trick innocent filmgoers into thinking it's enough to float a movie, and Bruce Willis has exactly the right kind of broad appeal to draw in any stragglers who aren't quite convinced, but there's no movie here -- just a ...Read the entire review

Walt & El Grupo kicks off with some wonderful material: audio of Walt Disney himself. Throughout the first 20 or so minutes, I was transfixed, both by the story, concerning a strike by the animators at the studio and by Walt's description of how he was affected by watching animators and artists he liked very much tearing him down as an impersonal businessman. The rest of the movie shows us wonderful sights, like a bustling dance hall in Brazil and the numerous sketches and drawings the talented artists Disney brought with him created while they were away. After those opening 20 minutes, though, Walt & El Grupo feels like an overextended chunk of a longer movie just floating out on its own, lacking in any real focus.

In the middle of World War II, President Roosevelt was worried about the potential turn in South America towards Nazi ideals, and so he introduced the Good Neighbor ...Read the entire review

The most common complaint I see directed at film critics is that they need to "turn their brains off" and just enjoy a movie that's meant to be entertaining. What these hecklers never seem to grasp is that most of the movies they're trying to defend are prime examples of films where the critic has no other choice; unless you're Armond White, it's not like the thematic essence of Truffaut or Tati is running through anyone's mind at the 7:20 showing of Paul Blart: Mall Cop.

This imposition to stop thinking and just go with the flow is, for me, compounded when the film is a horror movie. The cheapest genre to film in and the one that promises the biggest returns, this is a cross-section of filmmaking that gets flooded with piles of DTV dreck every year, in addition to the stacks of crud trucked into theaters. The obvious downside to this is that even the so-called "cream of the crop" is generally...Read the entire review

The power of a John Carpenter film is its twisted sense of objectivity. In Halloween, there's nothing about the way the characters are shot or the action is filmed that gives you any hint about what Carpenter himself thinks or feels about the events he's showcasing. It's so impersonal (in a good way) that the film plays like a hidden-camera documentary, standing back from the action and just watching. Even when some of Carpenter's work lets in a bit of dark humor, it reaches the audience through the characters and their outlook on the situation.

Carpenter was in his prime in the late 70's and early 80's, directing a veritable string of classics that include Assault on Precinct 13, the aforementioned Halloween and Escape From New York. It's a shame that it's been nearly a decade since the man's made a feature film, and that his last one, 2001's Ghosts of Mars, was a...Read the entire review

Big Fan paints a portrait of a man whose life is consumed by his obsession. Paul Aufiero (Patton Oswalt) lives his life surrounded by his favorite sports team, the New York Giants. He works as a parking garage attendant, sitting in his booth, writing carefully worded rants and raves for the radio show he likes to call into, with the hope of trashing rival caller Philadelphia Phil. He lives with his mother (Marcia Jean Kurtz) and is constantly hounded by his defense lawyer brother Jeff (Gino Cafarelli) to do something with his stalling life. Paul may have deeper psychological issues, although there are are few moments where his logic seems sound (Paul refuses to take a job at a relative's department store, and it's hard to see another cash register job being a notable improvement over his current one), and though he doesn't seek out friendships beyond Sal (Kevin Corrigan), another devoted Giants ...Read the entire review

Growing up, I wasn't a huge Disney kid. I did see some of the movies: the three I remember most being The Lion King, Toy Story and Hercules, which, not coincidentally, were the ones for which I had the soundtrack on cassette. During one of those weekends they used to have where the premium channels were temporarily free, I also caught Bedknobs and Broomsticks on The Disney Channel. Back then, I was obsessed with Ghostbusters, Back to the Future and Star Wars; animated characters singing and dancing didn't seem nearly as interesting. Here was a movie I could enjoy, with real-life objects coming to life. When Bedknobs and Broomsticks showed up in the mail for me to review, I thought about the harsh review I gave Escape From Witch ...Read the entire review