Category Archives: Low Budget

Graduation Day (1981)

graduation day

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Killer slashes track team.

When the high school’s top track star Laura (Ruth Ann Llorens) collapses mysteriously after winning a race strange things start happening to her teammates. One-by-one they get knocked-off by a killer who has a way with swords, but who could it be? Her brash, driven coach (Christopher George) who pushes his players past their breaking point or maybe it’s her strange sister Anne (Patch Mackenzie) who comes back home from the military. The clues and suspects keep piling up, but can the police find the culprit before the entire team gets killed?

Writer Anne Marisse and director Herb Freed teamed up four years earlier to make the very original one-of-a-kind horror film Haunts where they created an excellent atmosphere on a nickel-and-dime budget that is completely lacking here. The scares and suspense even on a cheap level is non-existent. What is even worse is that there is no central character just a mishmash of uninteresting people and scenes that does not help to create any empathy from the viewer nor story momentum.

Freed’s direction is lively to some extent as he does inject some humor and a couple moments were he uses quick flash editing, but his other camera work is off-putting. I particularly got annoyed with a tracking shot showing a person running alongside a moving camera that seemed to make them look like they were on a treadmill, or going unnaturally slow in order to not outrun the camera. This is done several times throughout the film with different characters and the result is very artificial looking. He also features a band named Felony that sings a long seven minute song called ‘Gangster Rock’ that almost turns this thing into a music video. A scene showing a woman being chased by the killer is intercut between the band playing and this takes the viewer out of the film completely and kills what little suspense there already is.

The killings themselves are unimpressive. The scene showing a victim getting beheaded looks too much like it is a mannequin and it is highly doubtful that any sword could make that type of precise and quick cut. Another death features a pole- vaulter  being impaled by a mat full of sharp spikes, which is pretty much ruined when we can clearly seeing that the victim is still breathing even as he lays there with the spikes having gone right through him.

There is logic loopholes as well including having the killer store the Laura’s dead body inside his bedroom and pretend she is still alive, which is too reminiscent to Psycho to be effective or interesting. I also didn’t know how somebody could dig up a dead body from a cemetery and not have the victim’s family, or the cemetery workers not notice. The make-up used to try to make her appear decomposed instead made her look more like she was a member of the KISS rock group.

Michael Pataki hams it up nicely as the school’s beleaguered principal and becomes a scene stealer in the process. Christopher George is so irritable and belligerent with anyone who makes contact with him that he becomes fun as well. Linnea Quigley has a nice topless scene as the horny Delores and Virgil Frye who is the father of Soleil Moor Frye of Punky Brewster fame has a few goofy moments as the school’s incompetent security guard. The funniest though is Patrick Wright as a grungy, overweight truck driver who feels that he is entitled to take liberties with Ann who is returning home from the service simply because he is a ‘taxpayer’.

Sources list Vanna White as the character of Doris, but I didn’t spot her and I don’t feel like going all the back through this cardboard thing again just to see if I can.

My Rating: 2 out of 10

Released: May 1, 1981

Runtime: 1Hour 36Minutes

Rated R

Director: Herb Freed

Studio: IFI

Available: DVD, Amazon Instant Video, YouTube 

Haunts (1977)

haunts

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Haunted by childhood memories

This is an extremely odd horror film that manages to be effective nonetheless. The story deals with Ingrid (May Britt) a deeply spiritual woman living alone on an isolated farmstead and occasionally visited by her uncle Carl (Cameron Mitchell).  She is haunted by strange childhood memories and visions that are never quite clear. When a killer begins murdering women in the nearby small town Ingrid feels she knows who the culprit is and when he attacks her she notifies the police, but no one seems to believe her, which leads to weird and unexpected twists.

The film has all the usual trappings that one might expect from a low budget 70’s horror film and in some cases it is even worse. The film stock is faded and grainy and while in a certain way this helps build atmosphere it also looks like someone’s amateurish home movie. The lighting is flat and the backgrounds of the interior scenes are quite bland. The voices of the actors echo and sound like they were picked up by a weak inexpensive boom microphone. There are also certain nighttime sequences that are too dark and shadowy and it is hard to follow the action and yet despite all this I still found the film to be quite captivating even more so than most horror films.

Writer/director Herb Freed captures the small town life quite well. Filmed on location in Mendocino, California the rainy, gray climate, dry fall-like landscape, and old gothic style homes helps build a great atmosphere. Pino Donaggio’s musical score is filled with long violin strains and flute solos that usually would be better suited for a romance yet the melodic sound works surprising well with the material and even heightens the dark underscore of the story. The characters have interesting flaws and although the scares are quite sparse they are still effective.

Britt gives a superior performance and casting her in the lead was astute. Her bright blonde hair and Swedish accent helps give it distinction. The scenes that she is in are compelling while the ones without her are a dull and draggy. Mitchell isn’t quite as good. He was once considered an up-and-coming star until alcoholism banished him to low budget movie hell. He openly took just about any part for the money and I couldn’t help but feel that he was phoning in this one. Aldo Ray who plays the town sheriff isn’t much better, but I felt this was more from lack of talent than effort.

The killer could have been created to be more frightening and distinguished than just some schmuck with a ski mask. The movie is also a bit overlong and at times confusing. It requires close attention and maybe even a repeat viewing to totally get it. Conventional horror movie fans may be put off by the lack of gore and its slow, but deliberate pace where the emphasis is more on mood than chills. However, the restrained and prolonged ending has to be one of the most unique in horror film history. The twist is intriguing and the final image that is captured through a mirror is memorable.

My Rating: 6 out of 10

Released: July 12, 1977

Runtime: 1Hour 40Minutes

Rated PG

Director: Herb Freed

Studio: International Film Distributors

Available: VHS, DVD, Amazon Instant Video, YouTube

Dixie Lanes (1988)

dixie lanes 2

By Richard Winters

My Rating: 3 out of 10

4-Word Review:  Karen Black is funny.

Clarence Laidlaw (Hoyt Axton) returns home from the war to find that is his son Everett (Christopher Rydell) does not want to speak to him due to certain felonies that he supposedly committed before he left. Meanwhile Everett romances Judy (Pamela Springsteen) while also agreeing to deliver a hatbox filled with secret items for his kooky Aunt Zelma (Karen Black) that may entail the transfer of stolen money.

The film moves along too slowly with a storyline that borders on being almost nonexistent. The movie seems to want to focus on the interactions of the slightly offbeat small town characters, but none of them are interesting enough and their dialogue is not funny enough to be engaging.  The recreation of the 1940’s is okay on a low budget level, but there have been so many more bigger budgeted movies that have created a much richer more vivid portrait of Americana that watching this or even the reason behind making it seems unnecessary.

The eclectic cast is interesting, but straddled with such limp material that they have nowhere to go with it. Art Hindle, Moses Gunn, Ruth Buzzi, Nina Foch, and even Tina Louise appear although it is in a very small role. Rydell as the young lead seems misplaced as his hairstyle looks more like an 80’s cut and his pouty, moody, detached behavior seems suited for a more modern era.

Black is a lot of fun and is the one good thing about the movie as she adds a lot of much needed energy. Her over-the-top screams and mannerisms even had me chuckling in a few places particularly at her attempts at bowling. She also had me convinced that she had a knack for comedy and should’ve done more of it. However, like with Rydell her character didn’t seem right for the time period especially with her bleached frizzy hair and her flirtatious and outspoken manner.

Axton’s laid-back style and smooth sounding voice is great for when he is doing one of his ballads, but as a lead actor he is almost lifeless. His graying hair made him seem more like Foch’s husband instead of her son.

There is almost no action to speak of until the very end when director Don Cato implements a forced, slapstick-like car chase that is out-of-sync with the tone of the rest of the film. This takes place during some unexplained supernatural wind storm that makes no sense and pretty much cements this thing as being a poorly realized waste of celluloid.

My Rating: 3 out of 10

Released: May 3, 1988

Runtime: 1Hour 23Minutes

Rating: PG-13

Director: Don Cato

Studio: Miramax

Available: DVD

Orgazmo (1997)

orgazmo 2

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Super hero porn star.

This is a funny satirical mixture of super hero movies and Boogie Nights and a definite improvement over Trey Parker’s earlier feature, the sleep inducing Cannibal the Musical though not as funny as his later ‘South Park’ TV-series. Here he plays a Mormon bible salesman who inadvertently gets involved playing a super hero named Orgazmo in porn movies.

Has a definite look and feel of a really cheap direct-to-video product. The special effects are awful, the fight scenes are fake looking, and the acting, with the exception of Michael Dean Jacobs who does a great job playing a really slimy porn director, are quite poor. Yet it is structured well enough to keep you consistently amused.

The porn scenes themselves are so over-the-top that they are an absolute riot. Yet despite its subject matter and a cast of actual porn stars there is NO FEMALE NUDITY. In fact the only nudity you will see are close-ups of hairy male rear ends.

Religious people especially Mormons are made to look so simplistic and sterile that it is sure to offend anyone involved in that area. Yet since most of them won’t bother to watch this film it probably won’t hurt. Overall it is good natured and not bad for its type.

Has a plethora of porn and cult celebrities in cameo roles. The best by far goes to Ron Jeremy who not only gets involved in a funny debate about the merits (and demerits) of porn, but is also in a big kung fu showdown. Also has Troma producer Lloyd Kaufman as a doctor with beautiful porn star Jill Kelly as a nurse who doesn’t say anything but still commands your attention. ‘South Park’ co-creator Matt Stone can be seen as a crew member. His lines aren’t particularly funny, but the way he says them is.

orgazmo

My Rating: 7 out of 10

Released: September 6, 1997

Runtime: 1Hour 34Minutes

Rated NC-17

Director: Trey Parker

Studio: Focus Features

Available: DVD, Amazon Instant Video

Can She Bake a Cherry Pie? (1983)

can she bake a cherry pie 1

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Fighting keeps them together.

An emotional and neurotic Zee (Karen Black) has just broken up with her husband. Eli (Michael Emil) is an older man who enjoys calculating odds and averages. The two meet at a restaurant and become involved in an offbeat and tumultuous relationship.

The film at times tries a bit too hard to be offbeat. Zee seems almost like a walking cliché. She sobs so much she can’t even order her food at the restaurant without breaking into tears. She chain smokes and has a plethora of hang-ups and paranoia that seems to possess every eccentric movie character and makes the whole thing fall flat before it has even begun.

Fortunately once you make past the rather clumsy beginning it actually starts to click. Writer/director Henry Jaglom instills a wonderfully free-form style to the proceedings that allows one to become engaged without even knowing it. The cinema-vertite approach turns its low budget into an asset. It’s the little things that start to grab you especially the Michael Margotta character and his trained pigeon named Eddie or the brash  way he tries to pick-up women at cafes while their boyfriends are sitting right there at the table with them.

Eli and Zee’s quirky conversations are quite amusing especially Zee contemplating on getting pregnant. These is even a segment showing old home movies done by Jaglom’s parents where you get to see Jaglom and Emil, who are brothers in real-life, whey they were little kids.

Jaglom has seemed to have gotten to the very heart of why we watch movies, which is because we are all secretly voyeurs. We like that little window that opens up and allows us to observe other people and see how they respond and react to things without being told what to look for or what to think. The European style of filmmaking is a refreshing change of pace. The actors are allowed to freely improvise and when it is all over you feel like you’ve watched real people, which makes it seem more relevant and funny.

This is very similar to John Cassavete’s Minnie and Mokowitz, but this fairs better as it is not as strained or aimless. The characters also have a bit more appeal and didn’t ingrate on my nerves as much.

Black gives another intriguing performance. She even sings, which she does quite well and does it while wearing the same wig that she wore while singing in the classic film Nashville.

The only real negative that I had with it was the soundtrack, which was performed by street musicians and sounds awful. It eventually gets so overplayed that it becomes irritating.

My Rating: 7 out of 10

Released: September 10, 1983

Runtime: 1Hour 30Minutes

Rated R

Director: Henry Jaglom

Studio: Pan-Canadian Film Distributors

Available: DVD, Amazon Instant Video

Doin’ Time on Planet Earth (1988)

doin time on planet earth 1

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Weird people don’t belong

Ryan (Nicholas Strouse) is a teenager who has always been ridiculed as being ‘weird’, but finds that he may actually be an offspring to aliens from another planet. This may be the case with all the other weird people too. He and his fellow ‘weirdos’ must now band together and return to the planet that their forefathers came. Charles and Edna (Adam West and Candice Azzara) are the two that are heading the mission.

This is definitely an original idea that is on the most part handled well. The humor is certainly quirky and on the whole not bad. The problem is the fact that it is treated too lightly like it is nothing more than a harmless joke. A deeper, darker underlying theme might have given it more stature and not made it seem so silly and forgettable. It also places too much emphasis on the kids high school life, which makes it seem at times like just another redundant ‘jock vs. geeks’ thing. There is also has too much of that 80’s look, which gets annoying.

Technically it could have used a bigger budget. The quirky humor gets you through it, but the sets are poor and the special effects tacky. The editing is choppy and the color schemes ugly.

The lead himself is the blandest ‘weird’ person you will ever see. He really doesn’t seem that strange at all. The weirdest trait he has is that he has booby trapped his bedroom so anyone that doesn’t knock gets caught in a net. This seems more like a trait of someone who is immature than weird. He is also way to clean cut. A weird person should have a little more of an eccentric style or look. It also doesn’t help matters that the actor who plays him is quite poor and never went on to play anything else.

The presence of West and Azzara help a lot. Azzara’s outrageous beehive hairdos and fingernails alone make it fun. West seems to act like this is nothing more than some campy walk through, but it is still nice to see him doing something more than just a token appearance. Martha Scott is the real surprise as she really seems to get into being a bitchy, snobby mother-in-law.

If your expectations are moderate and you are just in the mood for something that’s just a little bit different than this might fit the bill. There are a few good chuckles and a higher than usual quotient of movie references.

My Rating: 5 out of 10

Released: September 14, 1988

Runtime: 1Hour 25Minutes

Rated PG

Director: Charles Matthau

Studio: Cannon Film Distributors

Available: VHS

Bad Manners (1984)

bad manners 2

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Orphans on the loose.

Piper (Greg Olden) is the new kid inside a rough orphanage who befriends Mouse (Michael Hentz) who looks up to Piper as a sort of tough guy hero. When Mouse gets adopted by a snotty rich couple (Martin Mull, Karen Black) Piper convinces the orphans to break out of the orphanage and rescue him.

If there is one thing that can be said for this film, which is so obscure it is not even listed in Leonard Maltin’s Video Guide, is that it is lively. Director Robert Houston uses a lot of quick edits, interesting camera work and spinning tracking shots to keep things at a fast, irreverent pace. Piper’s sessions with his psychiatrist, which is played by Stephen Stucker is the funniest. Stucker is best known for playing the hyper air traffic controller in Airplane, but I felt he was more engaging and amusing here. The scene where Mouse swallows a small dinner bell and sends everyone into a panic is also a riot.

Unfortunately the film is unable to hold the balance between quirky humor and action and eventually devolves into a cartoonish, silly mess that becomes pretty much just an R-rated kiddie flick. I also didn’t care for the synthesized music score, which had a generic sound similar to ones used in 80’s porn flicks and only further cemented this as an uninspired B-movie.

The children characters are excessively crude and in some ways I prefer it a little more like this because I think it is realistic to how teens and pre-teens behave instead of as the wide-eyed sweet innocents that some other movies portray them as, but parents most likely will cringe and won’t want their own kids to watch it. A mean-spiritedness permeates throughout and although I am not sure if this was intentional or not but the two male leads and the one female are quite androgynous.

The one thing that keeps it fun is the adult performers who seem more than up to the campiness. Murphy Dunne is delightfully hammy as the orphanage warden and Anne De Salvo is quite cute despite playing an oppressive nun. Mull’s glib one-liners are a perfect balance to the zaniness. Black is also great and practically steals the film at the very end when she goes on a spastic shooting spree. This also marks the final film appearance of Richard Deacon best known for playing Mel Cooley on ‘The Dick Van Dyke Show’ who appears here in a brief bit as a ticket agent.

My Rating: 4 out of 10

Alternate Title: Growing Pains

Released: November 4, 1984

Runtime: 1Hour 22Minutes

Rated R

Director: Robert Houston

Studio: New World Pictures

Available: VHS, YouTube

The Witch Who Came from the Sea (1976)

the witch who came from the sea 2

By Richard Winters

My Rating: 0 out of 10

4-Word Review: She doesn’t like men.

Molly (Millie Perkins) is a middle-aged woman suffering from dormant, haunting memories of sexual abuse that she suffered at the hands of her father. To compensate she goes through periods of black outs where she murders and mutilates men that she picks up and brings home for kinky sex games.

If this movie was half as provocative and artsy as its movie poster this might have been something. Unfortunately it takes a potentially interesting idea and slams it into the ground with a talky script that goes nowhere. Matt Cimber’s direction is unfocused creating a movie that is slow and filled with endless and redundant conversations. It hardly seems like a horror movie at all and more like a drama and a rather stale one at that. The emphasis is more on the psychological workings of the character, but it is too broad and generalized to be interesting, or intriguing. The brightly lighted sets do not create any type of atmosphere and this was one film where I was looking more at the clock waiting for it to be over than at the screen.

The only time there is any action is during the killing sequences, but like everything else this gets botched. For one thing there are endless conversations during these as well. Cimber adds in an echo effect, which initially has a little pizazz, but then gets over-used and monotonous. The victims are stupid and allow themselves to be put into vulnerable positions that the average person wouldn’t so it is hard to relate to them, or care about their gruesome fates. The liquid used for blood is skimpy and resembles chocolate syrup.

It is interesting initially to see Perkins in the title role as she is most famous for playing Anne Frank in the classic 1950’s movie version. She took this part mainly because her then husband Robert Thom wrote the script and she seems game for it. She even does a few nude scenes and looks pretty good in them particularly the scene where she gets a tattoo along her stomach and chest.

The second half deals with the investigation of the murders and the slow realization by Molly’s friends that she may have a dark and dangerous side to her, which is too contrived and offers no suspense or intrigue. The scenes recreating the Molly’s sexual abuse by her father are hooky and it would have been better had it not been done at all and only implied. The worst part though is that Verkina Flowers who plays Molly as a child has brown eyes while Molly’s eyes as an adult are blue.

My Rating: 0 out of 10

Released: January 2, 1976

Runtime: 1Hour 23Minutes

Rated R

Director: Matt Cimber

Studio: Cinema Release Corp.

Available: VHS, DVD

Sex, Lies, and Videotape (1989)

sex lies and videotape

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Sex confessions on tape.

This movie was the critic’s darling when it was released 24 years ago and there didn’t seem to be anyone around that didn’t like it. I remember watching it back then and feeling like it was a bit overrated and although I liked it a little more the second time around I can’t say that my feelings about it have changed all that much. The story is about John (Peter Gallagher) who is married to Ann (Andie MacDowell) and who is having an affair with her sister Cynthia (Laura San Giacomo) due to Ann’s frigidity. In comes Graham (James Spader) an old college buddy of John’s who stays with the couple temporarily while he looks for a permanent residence. Graham has an unusual fetish of recording women confessing to some of their wild sexual moments to the camera to which he records and then gets off to later. Ann is initially attracted to Graham, but when she finds about his habit she is appalled only to later become keen to the idea and agree to do a taped confession herself, which sends everything spiraling out of control.

The movie seems excessively talky with scenes and conversations particularly the dinner one between John, Ann and Graham going on longer than it should. Not a lot really happens and there is little if any action. The production values are pretty basic and don’t seem much different than the ones Graham uses for his taped confessions. For a film that talks so much about sex, which seems to fill pretty much every conversation that the characters have it is not very erotic and the attempts at eroticism is pretty generic. I did like writer/director Steven Soderbergh’s use of editing where conversations from one scene between two characters will be heard overlapping over a shot featuring two different characters. However, the scene where Cynthia gives her confession to Graham is ruined by the sound of a train whistle going off in the background, which became distracting.

I also had a hard time buying into the basic premise. I just couldn’t understand why so many women would freely divulge to a perfect stranger all of their deep dark fantasies and sexual excursions knowing full well that they were being recorded for his own personal gratification with no real assurance that these tapes wouldn’t one day get into the wrong hands and come back to haunt or humiliate them years later. There is also what I considered a glitch when Ann is vacuuming the rug and finds Cynthia’s earring underneath their bed, which was apparently left by her when she had sex with John in the bed a few days earlier, but I kept thinking that after a few days Cynthia would have realized that she was missing her earring and had John go back to retrieve it. It is possible that Cynthia may have intentionally planted the earring there for her sister to find since she seemed to really dislike her, but if that was the case the movie should have confirmed this, which it doesn’t.

MacDowell is great in the lead and looks beautiful. I enjoyed the character and felt her presence in the story made the movie more interesting. I did though have some issues with the opening scene where she is seen talking to a male therapist about her lack of sex drive, which to me wasn’t realistic. I would think that if a woman had sexual problems that she would be reluctant to discuss it with a male and would only talk about it with a female Dr. Also, she sits on his sofa Indian style with her shoes off, which seemed too relaxed a posture for a woman that otherwise is frigid and reserved.

Spader is also likable and conveys a surprisingly sensitive performance. However, I couldn’t understand what type of person in this day and age would leave their door always unlocked especially at night. Gallagher is just too much of a narcissist pretty boy philanderer to have much appeal although seeing how things unravel for him at the end and how he somehow feels morally superior to Graham is interesting.

I didn’t care for the Cynthia character at all. She dresses and behaves too much like a one-dimensional tramp and the only thing that ever comes out of her mouth is a barrage of sarcastic, snarky remarks and at no time ever shows even some remote sensitivity, which might have helped.

Although his part is brief Steven Brill is a hoot as a barfly constantly making feeble attempts to hit on Ann. He is the one amusing part of the movie, which I wished had infused more humor.

My Rating: 5 out of 10

Released: August 18, 1989

Runtime: 1Hour 40Minutes

Rated R

Director: Steven Soderbergh

Studio: Miramax

Available: VHS, DVD, Blu-ray

The Handyman (1980)

the handyman

By Richard Winters

My Rating: 6 out of 10

4-Word Review: He’s unlucky in love.

Armand (Jocelyn Berube) is a chump of the first order. Everything he plans or does never seems to work out. He writes a letter to his mother describing how he has finally gotten himself married and how ‘he won’t die a bachelor’ only to have her walk out on him after only a few months. He tells his best friend the secret place where he hides all of his money and then the next day the friend steals the money. He brings in a new roommate only to have that man listen in to his private phone calls and when he does meet an attractive woman who he thinks is interested he gets her a romantic gift only to have her and her friends laugh at him behind his back. “The world is made up of two types of people,” he states “Those that take and those that are taken and I tend to be the latter.”

Things seem to improve for him when he gets a job fixing up the house for bored and attractive housewife Therese (Andree Pelletier). She is unhappy with her marriage to Bernard (Gilles Renaud) who is indifferent to her feelings and more interested in his golf game than her. She considers Armand’s unpretentiousness refreshing and Armand of course becomes immediately smitten. The two make an attempt at an affair, but as usual Armand gets in over-his-head.

One of the things that really stands out in this movie is the way Armand and Therese’s relationship unfolds. In most movies it always seems like love at first sight and both people get animalistic urges that they can’t contain and impulsively jump into the sack, but here it is much different. For one thing their attraction for one another progresses at a much slower and more realistic pace and does not come to a head until after several months. Both parties are shown contemplating their next move and their desire for one another is constantly being balanced by their reluctance at knowing how much trouble and guilt they will have if they do go through with it. How they respond to each other after they have sex is equally revealing and the quirky relationship that Armand later has with Therese’s husband is also quite interesting.

Although I felt that actor Berube’s bushy mustache and 70’s hairstyle seemed a little overdone I still found the character to be highly amiable. You tend to feel for the guy even after he makes one blunder after another. Actress Pelletier is certainly attractive, but her thick Nordic accent was a bit of a turn-off although probably realistic for the region.

My only complaint from this otherwise widely hailed low budget obscurity is the fact that the Armand character doesn’t grow or evolve at all. This is a man that knows he has a weakness for being taken advantage of, but doesn’t do anything about it. Watching him perpetually self-destruct to the point that he finds himself living out of his car and even contemplating jumping off a bridge is frustrating and depressing. Showing him having just one defining uncharacteristic moment where he somehow manages to transcend himself would have been much more satisfying and in some ways more realistic.

My Rating: 6 out of 10

Released: March 14, 1980

Runtime: 1Hour 39Minutes

Rated PG

Director: Micheline Lanctot

Studio: Les Films Reno Malo

Not Available at this Time.