Mr. Mom, Who Was Bitten By A Radioactive Mom And Now Has All The Powers Of A Mom

Year: 2018
Director: Brad Bird
Cast: Craig T. Nelson, Holly Hunter, Sarah Vowell
Run Time: 1 hour 58 minutes
MPAA Rating: PG

A quick caveat: That epilepsy warning is no joke. I have a photosensitivity, so the strobe effect that dominates three scenes lasting one to two minutes each prevented me from watching a certain portion of the film. Maybe those were the worst scenes in the movie or the best, but at any rate they don't factor into my review except for sound design I guess.

It's been fourteen years since the superhero family The Incredibles first graced cinema screens. It would probably suffice to say that the superhero movie landscape has changed since then, so I was interested in seeing how well the film played against the inundated landscape of the Marvel cinematic universe and its sickly basement-dwelling cousin the DC extended universe. Probably to its advantage, it doesn't change its stylized retro sci-fi gleam one bit. We sure get a lot of superheroes but we're still not getting that.

Angle-wise, there's just SO much going on here.

Incredibles 2 picks up literally the second the previous entry left off, with the Incredible family - superstrong dad Bob/Mr. Incredible (Craig T. Nelson), stretchy mom Helen/Elastigirl (Holly Hunter), force field-creating invisible girl Violet (Sarah Vowell), and super fast Dash (Huck Milner) - stopping an attack by the villainous Underminer (John Ratzenberger). However, the destruction caused by this effort hasn't helped the public perception of "supers," and the law enforcing the illegalization of superpowers is holding fast.

That is, until Winston Deavor (Bob Odenkirk) puts his hat in the ring. The wealthy telecommunications magnate is a fan of supers and has put together a plan with his inventor sister Evelyn (Catherine Keener) to hire Elastigirl for an underground PR campaign showing the world just how necessary superheroics are. While she heads off to the nearest metropolis to begin work, Mr. Incredible is left at home with the kids, which would be overwhelming even if the baby Jack-Jack (Eli Fucile) wasn't developing, oh, every power in existence.

Conveniently, this Elastigirl gig is timed with the rise of the Screenslaver, a freaky masked villain who uses screens to hypnotize people and is hellbent on tearing a lazy public away from the television they seem to worship. She sets off to stop the Screenslaver while Bob stays home with the kids. You know, just like the woke cinema classic Mr. Mom!

This is also maybe the freakiest thing ever included in a Pixar movie and they literally made two movies about monsters.

I obviously wasn't super sold on the Mr. Mom angle the trailers made apparent. It still reeks of the mentality that women in the workforce is a bizarre novelty and that men are dumb cavemen idiots who can't parent their own children. The most recent incarnation of this story was that soul-bleachingly mediocre Matt LeBlanc sitcom Man with a Plan, so I can't say I had high hopes.

Luckily, Incredibles 2 doesn't foreground the gender normative elements I was worried it would. It tells a story of the universal struggle to be a parent, with the chaos of having a newborn baby amplified by Jack Jack's powers. He can multiply his body, set the house on fire if he doesn't get a cookie, and his atomic sneezes send him phasing through various walls and ceilings. He's uncontainable and every parent's literal nightmare.

Naturally, he continues to be the best part of the film, and his mini-fight scene with a raccoon is maybe the best superhero moment in cinema this decade. But the other characters are all given a lot to do, with the exception of maybe Dash, whose energy generates a whole lot of fun, but it's all sugar and no substance. But yes, once again the family is at the center of the film, their characters and dynamics being the primary driving force of the story, aided and abetted by all the useful metaphors that superheroics can provide.

I'm not a regular mom. I'm a cool mom.

But although they're certainly not the crux of the story, those crime-fighting sequences really are exciting. They run the gamut from Spider-Man 2 setpieces to James Bond high camp villainy to good ole "capable people work together to prevent a disaster," and it's probably the best choreographed and edited animated action in American cinema, followed far behind by maybe Big Hero 6 and almost nothing else. Incredibles 2 is so fun and splashy that it makes you forget that we've already gotten a Black Panther, an Infinity War, and a Deadpool 2 within the past eight seconds. It's popcorn movie magic at its finest, using the limitless imagination of animation to deliver some impossibly dazzling stunts.

It maybe lacks the depth of the original film's more concrete, well-thought-out storyline, but I'd be hard-pressed to look at this year's slate of summer films and see anything that will be remotely as exciting and fist-pumping as this triumph, the best non-Toy Story Pixar sequel to date, and most likely in perpetuity.

A Note on the Short Film Bao: I'm obviously very glad that Pixar has started to realize that other cultures can and should be represented in animation, and this video about an anthropomorphic dumpling is certainly working Pixar's formula in a unique way - from its soft, stylized character designs to its casually magical, circular narrative. It's certainly very cute and a lively dialogue-free effort in visual storytelling, but I found the central metaphor to be more than a little bit ruined by the narrative turn it takes in the end, which for me undermined the story I thought I was watching. But nevertheless, a worthwhile effort that is no "Piper" but it's certainly no "Lava," so I'll take that middle ground any day. 7/10

TL;DR: Incredibles 2 is the best non-Toy Story sequel Pixar has ever made.
Rating: 8/10
Word Count: 988
Reviews In This Series
Incredibles 2 (Bird, 2018)

Popcorn Kernels: Q4 Review Purge

In which, while I'm still gearing up to begin reviewing current films in earnest, I release mini-reviews of some 2017 releases that aren't quite recent enough to meet my cutoff for getting the full review treatment, but still deserve a nod.

Lady Bird

Year: 2017
Director: Greta Gerwig
Cast: Saoirse Ronan, Laurie Metcalf, Timothée Chalamet
Run Time: 1 hour 34 minutes
MPAA Rating: R

In her senior year of high school, Lady Bird navigates her prickly relationship with her mother and a series of friendships and relationships as she comes of age and gets ready for college.

Given the Oscar buzz surrounding Lady Bird and the fact that it was being described as the female iteration of Boyhood, I was worried that the film would leave me a bit cold. Well, I'm here to report that I needn't have worried. Lady Bird is a frickin' delightful warm breeze of a film. It's especially relatable to me, because there's a large portion of the film dedicated to putting on a musical theater performance, something I dedicated a good 85% of my high school life too, but this film is genetically engineered to be relatable to as many people as humanly possible.

The central relationship of the film is between Lady Bird and her mother (played by Saoirse Ronan and Laurie Metcalf respectively), an effortlessly sharp evocation of the sharp edges and mercurial bonds between mothers and daughters, but every aspect of a teenager's developing friendships and loves is explored with a fine-toothed comb. Obviously nothing can beat Metcalf and Ronan (Metcalf especially delivers up a healthy platter of emotionally-laced barbs that cut to the bone), but every relationship in the film is a well-observed, matter-of-fact marvel, preserving in amber the vast spectrum of feelings that make up one's youth.

Like Boyhood, Lady Bird presents its story as more of a series of vignettes than an actual structured plot, but unlike Boyhood, it's damn funny while it's at it. I bark-laughed more than once in the theater, and the warm joviality of the film's tone makes it so that the dark moments are even more powerful, cast in sharp relief against the genial humor.

I'd say Greta Gerwig the writer is much more on the ball here than Greta Gerwig the director, who is content to bathe her terrific ensemble in desaturated, flatly presented frames, but that writing is whip-smart, capturing the lived-in reality of its setting and characters as if they've always existed, just waiting to be brought to life by her hand. Presumably on a vintage typewriter, because this is still Greta Gerwig we're talking about.

Rating: 8/10

Ingrid Goes West

Year: 2017
Director: Matt Spicer
Cast: Aubrey Plaza, Elizabeth Olsen, O'Shea Jackson Jr.
Run Time: 1 hour 38 minutes
MPAA Rating: R

Ingrid is an ex-mental patient who becomes obsessed with an Instagram lifestyle blogger, moving to Venice Beach to Single White Female her and ingratiate herself into her circle of friends.

If I didn't already have the CW show Crazy Ex-Girlfriend in my life, I'd think Ingrid Goes West was the work of a mad genius. And perhaps that's not fair to Ingrid, but that show handles how mental illness and obsession collide with the cold modern world in a way that wrings tears from me like a sopping wet rag. This movie doesn't quite reach that point, but what it does succeeds in its own, entirely unique way.

Taking the common inclination for Instagram stalking and ramping that up to its logical conclusion, Ingrid Goes West turns the psychologically dubious underbelly of social media into a twisted tale of terror. But as much as Ingrid's scheming is frightening and depressing, the fact that everything she does is instantly and completely relatable adds a startling layer of familiarity that is grotesquely juxtaposed with what could only be called a psychological thriller. It's a satirical indictment of the closed-off emotional world that social media creates, and it cuts deep.

Oh, and did I mention it's a comedy? It's not frequently laugh-out-loud hilarious, but Elizabeth Olsen is perfectly cast as the ne plus ultra of the perfectly primped Instagram hottie who lives her life out in a series of hashtags, misquoted authors, and superlatives. Then there's O'Shea Jackson Jr. (in only his second onscreen role), who breathes life into every scene he's in with an easygoing charm that allows you to forget that his character has literally one dimension and that dimension is that he loves Batman, which is maybe the most thoroughly boring character trait I could possibly imagine.

And Aubrey Plaza reaches emotional depths here that I never imagined her capable of, converting her usual deadpan personality from a sardonic sidekick role to a hollow shell for a totally empty personality. It's a shocking, sublime performance that interacts with the film's themes of identity formation and loneliness in a satisfying and visceral way. Sure, it's far from perfect, with a series of decisions in the third act that don't make a ton of sense or push the plot forward much - if at all - but as a showcase for these performers and the deeply felt central character arc, it's a tremendously satisfying bit of business.

Rating: 8/10

Coco

Year: 2017
Director: Lee Unkrich, Adrian Molina
Cast: Anthony Gonzalez, Gael García Bernal, Benjamin Bratt
Run Time: 1 hour 45 minutes
MPAA Rating: PG

On Día de Los Muertos, a young guitarist named Miguel rebels against his family, which has banned music for generations. He becomes trapped in the world of the dead, on a quest for a long-lost musician relative who can release him and approve of his love of music.

A lot of people have been saying Coco is a step down for Pixar, and they might not be totally wrong. The plot is entirely predictable from twenty minutes in, and it pulls much more from the Disney animated musical tradition than films like Up or Wall-E. But if you approach it as a Disney musical, then... Well, it's pretty superb.

Never forget for one minute that The Book of Life did more or less the same thing several years ago, a fact that I'm upset few people seem to have pointed out, but it's impossible to complain about getting multiple films based around the design and folklore of Día de los Muertos. And a mainstream American movie being so steeped in Mexican culture is almost unheard of. From the inclusion of a beautiful rendition of the folk song "La Llorona," to the appearances from many famous Mexican historical figures (including an extended cameo from Frida Kahlo, playing a hilariously exaggerated version of her personality that lovingly pokes fun at her favorite tropes and designs), Coco thoroughly pays homage to a non-American sphere, to the tune of becoming the highest grossing film in Mexican history.

But social issues aside, it's just a fun film to be around. It might not linger in the memory as long as Finding Nemo or even the short film Piper, but it's an emotional roller coaster with original songs that are much better than I would have expected from Pixar's decidedly un-musical crew (the most boring one, an inevitably Oscar-nominated musical theater standard called "Remember Me" that hits on the film's theme with the subtlety of  a jackhammer, was of course written by the Disney duo behind Frozen, and all the great ones that actually channel a distinct musical tradition were by co-director Adrian Molina and Germaine Franco - who also worked on The Book of Life, so she knows what she's doing).

Its depictions of the land of the dead are also pretty dang beautiful, an unnatural barrage of colors and lights and skeletal character designs that are enough to earn back the goodwill that the 22-minute short film Olaf's Frozen Adventure worked hard to obliterate. It's a tremendously satisfying film in its own right, even if its not totally unique or perfect. I'll be listening to the soundtrack for months to come, even if I don't feel the need to see the film again for a while.

Rating: 8/10

The Mountain Between Us

Year: 2017
Director: Hany Abu-Assad
Cast: Kate Winslet, Idris Elba, Beau Bridges
Run Time: 1 hour 52 minutes
MPAA Rating: PG-13

When their charter plane crashes in the mountains, two strangers must fight for survival and just maaaaybe fall in love while they're doing it.

There's maybe nothing better than a soapy romance movie if you just want to have a good time in the theater, and The Mountain Between Us has all the ingredients of being a perfect good-bad romantic thriller. Who wouldn't want to watch a movie you could describe as "Alive meets An Affair to Remember"?

Unfortunately, once again the vengeful gods of boilerplate cinema have struck. Mountain is hovering somewhere exactly between good-bad and mediocre, which is the most boring place to be. It just doesn't commit to being much of anything. Whenever the movie threatens to briefly become The Revenant, every problem from a slip down a mountainside to nearly drowning in a frozen lake is solved in less screen time than it takes for Kate Winslet to take a pee.

So what we're stuck with is a low-stakes survival thriller welded to a hideously contrived erotic romance. The script makes such an effort to paint Idris and Kate's clashing as a Brain vs. Heart conflict, it forgets to give them any character traits whatsoever, other than Winslet's fake American accent, the strained vowel sounds of which are the scariest thing in the movie.

But then the movie has the gall to very clearly end, then prattle on for a good fifteen more minutes, scraping up a thin gruel of drama from a pot that has long since been drained. There's nothing worse than a boring movie that overstays its welcome, and therefore I refuse to celebrate The Mountain Between Us as the second coming of B-movies, no matter how many mind-boggling unmotivated close-ups I get of Kate Winslet's watery eyes.

Rating: 4/10
Word Count: 1189

Just Keep Swimming

Year: 2016

Director: Andrew Stanton & Angus MacLane

Cast: Ellen DeGeneres, Albert Brooks, Ed O'Neill

Run Time: 1 hour 37 minutes

MPAA Rating: PG

So, Pixar. Not something that has been talked about frequently on Popcorn Culture despite its prominence in the blogger’s childhood. Let’s get into it, shall we? The groundbreaking studio that combines digital animation with humor and heart has been in a very weird creative space lately. As every animation studio and their mother have hopped on the computer-generated train (including Pixar’s literal parent, the Disney company), Pixar has been having a harder and harder time keeping their heads above the creative water.

Obviously, with films like Up and Toy Story 3 in their recent repertoire, Pixar hasn’t exactly fallen behind the curve, but for every glittering gem they produce they’ve also been bogged down by patently anonymous entries like Brave and (god help us) The Good Dinosaur, or lesser franchise fare like Cars 2 or Monsters University. Their most recent feature Inside Out has definitely boosted their credibility once more (seriously, let’s just pretend The Good Dinosaur doesn’t exist – it’s easy because I guarantee you haven’t seen it), but in the buildup to Finding Dory it was hard not to be a little nervous.

A thirteen-years-later sequel to one of their most beloved films that also acts as a  spin-off about an endearing sidekick with a one-note personality? That’s like mixing a bowl of plastic explosives using a stick of dynamite. It’s a recipe for disaster. But here we are. It has arrived. It’s in theaters, ripping through the box office like a money-devouring golem. So… How is it?

You’ll find out after this word from our sponsors.

In Finding Dory, Dory (Ellen DeGeneres) is a blue tang suffering from short-term memory loss. After helping the clownfish Marlin (Albert Brooks) find his son Nemo (Hayden Rolence, replacing the original actor, who is like 80 years old by this point), memories begin to surface of her own parents (Diane Keaton & Eugene Levy, who at this point has been an onscreen father to pretty much every living actor). She sets out to find them, but her slippery memory provides a mounting challenge. She, Marlin, and Nemo end up at a marine research institute, a  rehabilitation center/aquarium where Dory was born. The adventure might not be as large-scale as the cross-country trek of Finding Nemo, but travelling between he exhibits is tougher than it sounds when you’re just a lil fish with a spotty memory.

When Dory and the clownfish get separated, she must rely on new and old friends like Destiny (Kaitlin Olson), a nearsighted whale shark, Hank (Ed O’Neill), a grumpy octopus, and – eventually – herself.

There might be other fish in the sea, but none of them are quite like Dory.

As with any review of a Pixar feature, we must begin with a slight interruption to discuss The Short. This short in particular, “Piper,” is such a vast improvement upon last year’s treacly mess “Lava” that just the first frame is enough to bring tears to one’s eyes. Set at a beach, where a baby sand piper is learning how to hunt for food while facing its fear of the ocean, it’s a stunning piece of work. The story is lean, simple, and charming, but the animation is the true standout, an unparalleled achievement in photorealistic digital imaging that consigns all competitors into oblivion. The ocean… The feathering on the birds… The sand! Oh, I could rhapsodize about that perfectly replicated sand for hours. It’s a beautiful piece, capturing the look and feel of reality while delicately blending it with the rounded edges and welcoming cuteness of a cartoon. It’s brilliant and I won’t hear a word against it.

Now, about that pesky movie it’s attached to. Honestly, it’s pretty good. Pixar isn’t knocking on the door of a second Golden Age, but they’re at least not coasting anymore. Finding Dory is playing in the shallows, but it’s having a lot of fun. With its small-scale setting comes small-scale themes (plenty of family movie standbys: the power of friendship and/or family, believing in oneself, all that good stuff) and small-scale characters (the only new character given any depth whatsoever is the surly Hank, who is welded onto an Odd Couple arc older than cinema itself), but it’s still bursting with energy like a 5-year-old who figured out the child locks on the Oreo cupboard.

Perhaps the most significant thing about Finding Dory is that it’s practically immune to sequelitis. Although there are a handful of intensely pandering moments (we get an origin story for the “Just Keep Swimming” song, which is about as patently useless as finding out how Professor X went bald), this movie isn’t just a Finding Nemo greatest hits collection. Returning characters are integrated fairly well into the new story in places where they organically belong. OK, a cameo by the surfer turtles is a little unpleasant, but justified. And the movie never really figures out what to do with Marlin and Nemo until the third act. But we’re thankfully not forced through a gauntlet of grotesqueries, with doppelgänger scenes visiting the vegetarian sharks, the aquarium escapees, the dentist’s daughter, and so on. Finding Dory is well aware of its history and its universe, but it rarely feels the need to repeat itself.

Which is ironic, considering that’s pretty much Dory’s M.O.

So much of Finding Dory is new, and while none of it is quite on the level of the original plot and characters, could it ever be? The new side characters here are bright and fun even if they’re not so engaging, and a pair of lounging sea lions are an excellent substitute for the much-beloved seagulls. And everything that isn’t new is classic Pixar, which ain’t a bad place to be. There’s plenty of humor derived from the anthropomorphic nature of our inhuman leads, depicting in increasingly wacky ways how one might reasonably travel through the various sectors of an aquarium when one isn’t exactly inclined to breathing air.

And then of course, there’s the obligatory part that takes a machete to the heartstrings. The emotional moments in the climax feel a wee bit rote, but any time you’re treated to a flashback of young Dory with her parents, you’re going to wish you had gills, because otherwise you’re going to down in saltwater tears. Baby Dory is so devastatingly adorable and her separation from her parents is so straight-up brutal that the combined cuteness and sadness will overload our system.

I’m pretty sure renting your kid a Pixar movie qualifies as child abuse.

All in all, it’s a cleverly organized, silly movie about overcoming your disabilities and discovering your inner strength. The title Finding Dory isn’t just a franchise tie-in it’s a thematic manifesto. Whether or not it’s a truly great Pixar movie is beside the point. It’s a very good one, and we should be happy it’s around.

TL;DR: Finding Dory is a fun, energetic sequel that stays true to its story even if it's dealing with shallower material than its predecessor.

Rating: 7/10

Word Count: 1190

Feeling Myself

Year: 2015

Director: Pete Docter & Ronaldo Del Carmen

Cast: Amy Poehler, Phyllis Smith, Richard Kind

Run Time: 1 hour 34 minutes

MPAA Rating: PG

Pixar Short: Lava

As you well know, all Pixar features begin with a short film. These range from the cute and cuddly Partly Cloudy to the downright revolutionary animation masterwork Day & Night. Unfortunately, they can also apparently be deathly dull, aimlessly derivative wet farts based around an irritating acoustic noodle that centers on one of the worst puns in modern history.

Like, fine. Lava is a cute story. But it's utterly predictable, terribly cast, and arbitrarily bleak before the climax. Perhaps it wouldn't be so devastatingly disappointing if it hadn't come from Pixar. It would be a great senior thesis animation film, but it's a bog-standard bore in the context of the company. Lava is inane and pointless in the extreme. And I don't want to waste any more time thinking about it. 

Any of you got the remote? I'd like to switch this off.

Inside Out, on the other hand, is just plain terrific. The film tells the story of 11-year-old Riley (Kaitlyn Dias) following her family's move from their hometown in Minnesota to a small property in San Francisco. This life change shakes everything around her up considerably, but nothing compares to the shake-up that's happening inside her mind. Her emotions, which manifest as anthropomorphic beings in the headquarters of her brain, are controlled by Joy (Amy Poehler), Sadness (Phyllis Smith), Fear (Bill Hader), Digust (Mindy Kahling), and Anger (Lewis Black).

Joy is the de facto leader of this crew, and the emotion whose capacity is valued above all others in giving Riley the best possible life. However, following the move, Sadness finds herself going a little haywire. She can't resist touching Riley's memory spheres, infecting them with her sadness. Joy tries to stamp out this behavior, but their constant infighting leads to Joy and Sadness being sucked right out of headquarters with Riley's core memories (happy memories that power different facets of her personality) and dumped unceremoniously in long term memory. Thus begins a wild adventure through Riley's imagination and memory as Joy and Sadness team up with Riley's old imaginary friend Bing Bong (Richard Kind) and attempt to bring the core memories back to headquarters before it's too late.

Meanwhile, Riley, left with only Anger, Disgust, and Fear, is struggling to adjust to her new school, new house, lack of new friends, and parents who don't seem as invested in her as they used to be. They still love her, but the stress of the move has put a strain on her Mom (Diane Lane), and her Dad (Kyle MacLachlan) has been buried in work, preventing him from spending much time with her.

It doesn't help that the excessively gray production design positively aches for you to punch yourself in the eyes.

The underlying metaphor couldn't be clearer if it was in a Claritin commercial: Riley's rough transition damages her delicate pre-pubescent emotional equilibrium as she struggles to grow up just a little bit, learn to manage her emotions, and find her new place in the suddenly scary and unfamiliar world that surrounds her.

There are quite a few things that Inside Out does best. The first of these is humor, which takes a great heap of universal experiences, whips them into a lather, and spreads it liberally across every surface of Riley's mindscape. Inside Out is really a fabulously funny movie, whether you're an idiot six-year-old with your finger reaching halfway to your brain through your nasal passage or an immensely intelligent, startlingly handsome adult like certain film bloggers I might mention. It completely avoids the pitfalls and inclinations of most family comedy: slapstick and scatological humor is scattered to the birds, replaced with warm character-driven humor and endlessly clever variations on what it really means to exist inside a person's mind.

The second of these things is (quelle surprise) the emotion of the story. This is no deep shock, seeing as Pixar has made a name for themselves as the world's leading purveyor of psychological torture to children, but for a film in which half the characters are literal physical manifestations of emotions, Inside Out is keenly focused on beating yours to a bloody pulp. In pursuit of its deepest themes about stress, change, loss, and memory, the film puts your mind through the wringer with adept skill and infinite compassion.

She's practicing for the Oscar.

Third and finally (Well, at least for the confines of this review. If I covered every minute detail of why Inside Out is a great film, we'd be here until Toy Story 4), Inside Out boasts supremely skilled animation. The aesthetic is uncomplicated, but the film is no less valuable for it. The emotions and their surroundings are soft, inviting, and awash with color, contrasting sharply with the stark, Spartan design of Riley's world.

The emotions themselves are also little miracles of character design. Generally defined by a single color, the emotions provided an enormous challenge to animators, but the infinitely variable texturization of their hair, skin, and eyes provides a stunningly simple answer to the problem of keeping them from blending into themselves like the world's most confusing chameleon.

The boundlessly creative world building that dominates the film provides Inside Out with its heart and soul. Riley's mindscape is a world where anything can happen, and frequently does with aplomb. It's an animated film that, for the first time in forever, embraces the energy and life available to the medium, wrapping its viewers up in an enormous, glowing embrace.

Also, you'll want to own plushies of every single character. It's just a fact of life.

The only element of Inside Out that comes remotely close to being a genuine flaw instead of a "not perfect" is the storytelling, which is remarkably light. The heft, humor, and subtext come out in glittering droves, but the film lacks a fair amount of vigor when it comes to crafting an actual adventure story with stakes, conflict, and drive.

So Inside Out is a little bit slack as an actual narrative, but it makes no excuses for it. The film is about the profound power of emotion, not sumptuous storytelling. It's pure and simple, and it distills that power into a heady, unforgettable, hilarious, tragic, utterly recommendable concoction.

But seriously though, Lava sucks.

TL;DR: Inside Out is an immensely simple story, but an effervescent and powerful one.

Rating: 8/10
Should I Spend Money On This? If you don't, you'll be sad forever.
Word Count: 1099