Tag Archives: hugh jackman

Stephen Sommers’ Van Helsing

Who loves the Hugh Jackman Van Helsing flick? I know plenty who hate on it pretty bad but they’re looking at it from too serious a perspective. This comes from Stephen Sommers, the same horror filmmaker to bring us stuff like The Mummy, Deep Rising, GI Joe and the 90’s Jungle Book with Cercei Lannister. This guy is in the industry to make films for fun and if you were expecting the subtlety and restraint of horrors like the source material he draws from well, jokes on you. His Helsing is a splendidly entertaining cornucopia of horror mythology given a juiced up boost of contemporary style and plenty of gothic, mist soaked atmosphere.

Jackman’s Van Helsing ditches the creaky old man archetype for something more virile and torqued up, careening around London like a steampunk Indiana Jones and sporting enough gnarly gadgetry to take on Dracula, Frankenstein and the Wolfman in one film, which coincidentally he does. He’s sort of half sanctioned by the government but the London police force resents his far out methods, especially in a stunning opening romp as he chases Dr. Jekyll/Mr. Hyde (a scene stealing Robbie ‘Hagrid’ Coltrane) across rooftops and edifices like a supernatural parkour death match. Then it’s off to Transylvania to do battle with the big bad Vamp King himself, played to melodramatic, emo perfection by Richard Roxburgh. There’s a loose plot involving Dracula wanting to use Dr. Frankenstein’s corpse revitalizing technology to bring his unholy offspring to life, and as such his work poisons the land, pisses off the locals and prompts sexy monster hunter Kate Beckinsale to call for Helsing’s help. It’s an off the rails theme park ride of splatter effects, wild performances and extended chase sequences all over the land. Jackman makes a stalwart antihero, while Beckinsale looks amazing in leather and is surprisingly convincing as an Eastern European. David Wenham provides comic relief cast against type as Van’s trusty clergyman sidekick and the cast is rounded out by Shuler Hensley as The Monster, Elena Anaya, Will Kemp and Kevin J. O Connor as Igor in a cool black and white prologue that serves as the one sequence paying homage to these horror roots.

This was never going to be an awards season darling but it’s nowhere close to as bad as people say. Any film that has all three iconic monsters in it (plus quite a few others too) is going to have a lot to juggle and will just feel chaotic by default, but Sommers handles the pandemonium quite well and knows how to spin an absorbing popcorn yarn. There’s plenty of drop dead gorgeous landscape cinematography given the appropriately macabre touches, monsters running all about the place to give horror fanatics their fix and enough action to spawn a whole video game franchise. My favourite part is where Dracula’s babies finally hatch in spectacularly gooey fashion from Alien style eggs and start swarming the landscape like demonic infant bats. That sequence alone is worth the price of admission and showcases the kind of gung-ho, all or nothing spirit of horror adventure filmmaking offered here. Love this film.

-Nate Hill

PRISONERS (2013)

“If goodness is order, evil must be disorder, the straight path or the maze…” – Eugene Ionesco

In 2013, when the oh so talented French-Canadian film director, Denis Villeneuve (Sicario, Arrival, etc) paired with the triple BAFTA and long awaited Oscar winning cinematographer, Roger Deakins (EVERYTHING) for Prisoners, a cinematic masterpiece was born. I can only imagine how Aaron Guzikowski (Contraband, Papillon) must’ve felt knowing his script had fallen into the hands of greatness. And can we talk about that hypnotic score by none other than the late, great Jóhann Jóhannsson (Sicario, Mandy) that’s been playing on a loop as I write this??

I, for one, am a BIG fan of movie violence and Prisoners doesn’t shy away from delivering a heavy dose of it. However, with its consistent tone, it is only violent when it needs to be and delivers it with realism. The outbursts of rage burgeon from Keller Dover (Hugh Jackman) as he finds himself lost within his own mental labyrinth between morality and retribution. A man who will stop at nothing to find answers about his missing daughter, even if it means ruthlessly torturing Alex Jones (Paul Dano), a suspect released due to the fact that he has the IQ of a 10 year old boy and yet seemingly still knows pertinent information about the case.

They didn’t cry until I left them” – Alex Jones

Franklin Birch (Terrence Howard) personifies what’s at stake for Keller in relation to his deeper conscience. As Franklin remains true to his wife and stands by his family, we see Keller start to lose grip with reality, drifting further away from his family through drinking and becoming more focused on his new….um….extracurricular activity.

No light gets in, barely enough
room to sit down inside.
The shower still works, but we
control it from out here. I
rigged the water heater, so it
either comes out scalding or
freezing.
– Keller Dover

And then let’s talk about Detective Loki (Jake Gyllenhaal). One of Gyllenhaal’s best performances, in my opinion...but what’s with that blue shirt buttoned all the way up throughout the whole movie??

His daunting angst is made visually apparent by a nervous tick and cold exterior especially when given the case of the two missing girls. His steadfast level of professionalism is tested when dealing with the grief-stricken, emotionally deranged Keller. Loki seems to internalize everything, which makes his few emotional outbursts all the more unsettling. His obsession with this particular case makes him briefly question his own sanity but he eventually succeeds at piecing together this tumultuous puzzle.

In closing, I give this film a ten out of ten and if you haven’t seen it yet then I highly recommend you set aside two and half hours of your life to do so. I absolutely adore these types of hard boiled movies and greatly appreciate this type of material. Why not create more films at this caliber instead of the onslaught of sequels, trilogies, and remakes upon remakes?? If I see another Disney cartoon made into a live action movie my nightly bloodlust will overflow into my days. I’ll feel lethal, on the verge of frenzy. I think my mask of sanity is about to slip….

From the incredible cinematography, to the masterful direction and captivating performances, Prisoners will forever be one of my top film picks.

Denis Villeneuve’s Prisoners

Dark. Rainy. Uneasy. Covered in a cloak of gloom, gruesome secrets and morally questionable actions. Denis Villeneuve’s Prisoners is one of the premier kidnapping thrillers of recent years, and a mile marker in the still blossoming career of a man who will no doubt go on to be a legend. Many thrillers are lacking in some elements while excel in others, but here every base is covered with care and attention, from style to substance to pacing to realism to thematic material. When a couple’s daughter goes missing without a trace on a quiet suburban block, the distraught father (Hugh Jackman) tries to take matters into his own hands with disastrous and damaging results. When you factor in how long the case drags without clues, results or hope it’s kind of hard to blame him for taking action of his own volition, but when he abducts a mentally challenged man (Paul Dano) who was seen skulking around in a creepy RV the day of the incident, he crosses the line from righteous investigator to dangerous vigilante. Jake Gyllenhaal and his snazzy hairstyle are great as a rugged detective who just can’t seem to get a grasp on what happened but doesn’t quit anyway. Terrence Howard, Maria Bello, Wayne Duvall, Viola Davis, Dylan Minette and more make vivid impressions, but it’s the consistently surprising and always dynamic Melissa Leo who steals the show and galvanizes the story with her chilling work. Roger Deakins is a prince among DoP’s and his rain streaked, utterly bleak visual mood-scape here is something to behold, the overcast weather seeps into the bones of these characters and brings out all the confusion and hopelessness of this grim, downbeat story. This is a detailed, difficult tale that does have an answer by the time the final act rolls around, and by that time we’re so so steeped in the quagmires of Jackman’s extreme actions that the further the trip goes into unpleasantness, the more eerily fitting it seems. It’s a dark, relentless trip but thanks to everyone involved and especially Villeneuve’s assured direction, it’s one worth taking.

-Nate Hill

ALL COP: A Fan’s Journey by Kent Hill

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How important are fans to the longevity of a movie? The truth is – extremely important. Fans are the reason films have survived long past their initial release life. Coming from the age of VHS, we were the generation of watchers that gave cult status to films that would have faded if not for the popularity of this new medium. Films that died even before their brief, bottled-rocket moment in theaters fell to the ground cold and lifeless under the weight of audience disinterest.

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A devoted fan is worth their weight in gold. They will stick with a film, a franchise, even through the worst of times. RoboCop is an undeniable classic. But, and it is just this man’s opinion, the continuing saga has suffered from the same strength that made the first film the glorious specimen it remains. Two wasn’t bad. Three, was stretching. I dug the animated series, even the live-action TV show. Then there was the recent reboot. I think the less said is the easiest mended and stand with many on this thinking – that the idea of remaking classic films is a colossal mistake. There was really nothing in this tepid attempt to re-invoke the wonders of past glory that are worthy of even the title.

Like Eva Rojano I saw RoboCop on video back in the day and was equally as awed by it. The fascinating thing though about Eva’s fandom is the empowering nature, the passion and exuberance she draws from the picture, and how it has helped shape her life and permeate her dreams and ambitions.

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Eva with Nancy Allen

Eva was so taken with the power of the character, and the story arc of Anne Lewis, portrayed by the wonderful Nancy Allen, that she eventually started corresponding with her idol, and finally, was able to meet her in person and further solidify the friendship.

The joyful nature of being utterly and completely taken by the subject and the morals amplified by popular and classic movies, is that it allows the fan to live vicariously through the characters they identify with and thus, giving one’s imagination fertile soil in which to plant the seeds for a harvest of success in whichever field of expertise one chooses  to explore in life.

Eva has taken the inspiration she receives from the likes of the empowered character of Anne Lewis and has turned all of her creativity and dedication to spreading and bringing together the talents and appreciation of RoboCop fandom world-wide. And, in the wake of the recent news of yet another cinematic entry into the RoboCop franchise, as well as, the fact that the talented Miss Allen has not, unlike the other member of her integral duo aka Peter Weller, been approached to be a part of this re-invigoration of such a beloved series; Eva has taken to the fandom at large and has created a petition to motivate the powers that be with the hopes of bringing back her treasured Officer Lewis.

Eva’s is a fascinating and passion-filled tale that I trust will inspire and delight. Please do, all you Robo-Fans, jump on the bandwagon and sign the petition (https://www.change.org/p/mgm-studios-inc-we-want-nancy-allen-to-play-a-role-in-robocop-returns) to get Nancy, along with Peter, back into the Robo-verse where together they belong. And also to, please follow the links below and experience the wonderful work Eva is doing – all to honor the movie she loves most dearly.

https://enhanced-reality.wixsite.com/robocoplewis

https://www.facebook.com/RoboCopLewis/

MORE ROBO-COLLABORATORS

Ed Neumeier

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PaulSammon1986

Space Operatic: An Interview with Stephen van Vuuren by Kent Hill

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I applaud anyone who makes their way on this crusade, some might say foolish crusade, to make a film. It can be a long, arduous, laborious. And thinking on that word laborious, now consider making a film that has to be stitched together using over 7 million photographs with animation techniques pioneered by Walt Disney on Snow White and the Seven Dwarves. No CGI. And I know that sounds sacrilegious in this day and age where a film without CGI is like a day without sunshine.

However, the film that Stephen van Vuuren has, albeit laboriously, constructed In Saturn’s Rings, is a unique master-work that is as beautiful and immersive on the small screen I watched it on as I can imagine it being played in its large format form.

Sparked by Cassini‘s arrival at Saturn in 2004 and the media’s lack of coverage, van Vuuren produced two films. Photos from space missions — including images of Saturn taken by Cassini — were included. But van Vuuren was not satisfied with the results so he did not release them.

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While listening to the Adagio for Strings by Samuel Barber one day in 2006, van Vuuren conceived the idea of creating moving images of Saturn based on a pan-and-scan 2.5-D effect. The technique involves creating a 3-D perspective using still photographs.

After discussion with audiences at IMAX conferences, van Vuuren decided the film title Outside In (the title of the short version) was not a good match for the film’s sensibility. The Giant Film Cinema Association had been publicising the film and surveys it conducted supported this. It was during a discussion in 2012 about the film’s climax where he was describing Earth “in Saturn’s rings” that van Vuuren realized he had found his new title.

Although narration had originally been removed in 2009, by 2014 van Vuuren realized that a sparse narration was necessary for the film. This amounted to 5 pages and about 1200 words in total. After listening to many voice actors one stood out and he asked LeVar Burton (Star Trek: The Next Generation) to be the narrator for the film.

The culmination of these elements, plus a lot of hard work, has resulted in something that is essentially more than a film. Like Kubrick’s 2001 which inspired him, van Vuuren has crafted an experience of what it may by like to drift through the far reaches of space to the planet that has always been the physical embodiment of his childhood fantasies. And I for one am grateful he stuck to his guns and made a movie that, even though it’s not a tale from a galaxy far, far away, it is the universe at its most wondrous…

The Puppet Master: An Interview with Kevin McTurk by Kent Hill

They say in the film business, never work with children or animals. Of course you may find yourself working with dinosaurs, aliens, lions, beast-people, scrunts, kothogas, ghosts, morlocks, Batman, Spiderman, Hellboy, kaijus, wolfmen, clones, cliffhangers, vampires, giant crocodiles, homicidal maniacs, killer sheep, Predators, cowboys and mysterious brides out to Kill Bill.

Sounds ominous, doesn’t it? But that’s just some of the astounding creations and magnificent beasts that Kevin McTurk has encountered in his eclectic career in the realms of special effects.

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Working under the banners of legends like Stan Winston, Jim Henson and the new titans like Weta Workshop, Kevin has had his hand in erecting and simulating everything from the real world as he has from empires extraordinary. And, while I could have spent the entirety of our chat talking about his adventures working on the countless films, which are favourites of mine, he has in his CV, his impressive effects background is only part of the story.

For Kevin McTurk is a bold and visionary filmmaker in his own right. His puppet films, The Narrative of Victor Karloch, The Mill at Calder’s End and now The (forthcoming) Haunted Swordsman are exercises in capturing a style from a bygone era with modern filmmaking techniques. The results are beautiful, not only in their aesthetic quality, but in the level of excellence from the many different disciplines on display.

There is still time for you to join Kevin in his latest cinematic offering (https://www.kickstarter.com/projects/935772123/the-haunted-swordsman-a-ghost-story-puppet-film), and to listen in now to the man himself talk about his movies, influences and career.

I give you the talented Mr. McTurk.

Visit Kevin’s website for more: http://www.thespiritcabinet.com/

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The Making of: A Conversation with Robert Meyer Burnett by Kent Hill

I love behind the scenes documentaries – always have. What began as 60 minute specials and from there graduating to EPKs (or Electronic Press Kits) have become full-blown features, at times several hours long. And the longer the better I say.

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Robert Burnett has been that guy. The guy behind the scenes. Armed with light-weight equipment and a small crew, he has captured the people who make the magic and the war it is to bring a dream to life on film.

He has been there to witness the making of the multi-Oscar winning Lord of the Rings trilogy. He has seen what it took to orchestrate Superman’s return. He has ventured back in time and brought us wonderful retrospective looks at films like Disney’s cult classic Tron.

But Robert is also a passionate filmmaker in his own right. Having made his own film Free Enterprise, directing episodes of the TV series Femme Fatales along with short films as well. He is a prolific producer having shepherded films like The Hills Run Red and Agent Cody Banks 2. And, just when you’re about to say, “Stop it Rob, you’re just too talented,” he is also an experienced editor; often times chopping his own work, whether it be for DVD special features content or the films he has worked on.

Beneath all of his success, Robert is a massive film lover, citing The Right Stuff, All That Jazz and The Godfather among the countless films he adores.

It was a real pleasure to chat with him about all he has seen behind the scenes, but more so to simply chat movies with a man who knows his stuff. Turns out he loved his time here in the great southern land (Australia), along with our beer and music. It is my hope Rob finds his way back so that I might take him up on my invitation to share a cold VB (Victoria Bitter) and talk movies…

…but until then, enjoy our chat.

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“Are you watching closely?” A review of The Prestige – by Josh Hains 

“Every great magic trick consists of three parts or acts. The first part is called “The Pledge”. The magician shows you something ordinary: a deck of cards, a bird or a man. He shows you this object. Perhaps he asks you to inspect it to see if it is indeed real, unaltered, normal. But of course… it probably isn’t. The second act is called “The Turn”. The magician takes the ordinary something and makes it do something extraordinary. Now you’re looking for the secret… but you won’t find it, because of course you’re not really looking. You don’t really want to know. You want to be fooled. But you wouldn’t clap yet. Because making something disappear isn’t enough; you have to bring it back. That’s why every magic trick has a third act, the hardest part, the part we call “The Prestige”.”

– Cutter (Sir Michael Caine); The Prestige, 2006

I’ve always been enamored by magic since I was a young boy. I don’t know how to perform any tricks and haven’t read dozens of magic books, but I’ve seen enough magic performed to validate my love for it. I’ve always enjoyed trying to decipher how a trick is pulled off. Sometimes I’m right, sometime I’m wrong. That’s the name of the game. In the case of The Prestige, Christopher Nolan’s 2006 masterpiece, I’ve spent the last couple years on and off deciphering the movie as best I can. A part of me doesn’t mind the ambiguity, and doesn’t need to solve the puzzle. The other half just had to solve it. I believe I have the movie figured out better than most, but whether or not I finished the puzzle isn’t the point of the movie. The point is entertainment, and I think The Prestige is amongst the finest entertainment you’ll find in cinema.

Apprentice magicians Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) work under Milton The Magician (Ricky Jay), frequently acting as fake volunteers for Milton in 1890’s Victorian London. Julia (Piper Perabo), Robert’s wife and an escape artist, drowns while trying to escape from a water tank with her hands bound when Alfred ties the necessary slipknot too tightly. She’s gone before stage engineer (or “ingenieur”) John Cutter (Sir Michael Caine) can break the glass with an ax. This tragic event sets into motion a bitter and violent years long rivalry, each man trying to one-up or sabotage the other.

During this time, Borden marries Sarah (Rebecca Hall), and together they have a child, their daughter Jess, while Angier launches his own magic career with Cutter and new assistant Olivia Wenscombe (Scarlet Johansson), and Borden perfects a new trick dubbed The Transported Man. The trick bewilders Angier, but Cutter is unimpressed, suggesting Borden uses a double to complete the trick. Angier finds that solution too obvious, and becomes obsessed with finding the answer at seemingly any cost. Through a series of unfortunate events, both Borden and Angier find themselves in possession of the other’s personal journals that hold the ins and outs of how each trick is performed. Borden’s journal leads Angier to Nikola Tesla and his assistant Mr. Alley (the late David Bowie, and Andy Serkis, respectively), in the hopes they hold the key to replicating Borden’s trick.

The Prestige reminds me of a Jenga tower. Remove the wrong piece and the entire thing comes crashing down, remove the right piece and it stands tall for a while longer. At any moment the film could derail if all the plot threads weren’t tied up nearly with a bow, and yet for me it never does derail. Remove the script from your mind for a moment. Are the performances great? At least 3 are Oscar worthy. And the cinematography, score, set design, and costuming, how are they? Immaculate as one might expect from Nolan and his trusted team. And the script, what do you think of it? Delightfully complex, thought provoking, and fresh. For me, there aren’t any cracks in the glass.

About that ending. The film gives you clues as to how the lives of both men will turn out. One is willing to kill a bird and present a new one to the audience in its place, the other willing to save the bird and re-present it to the audience. Bearing that in mind, the possibility exists that one of the two men acquired a machine capable of successfully duplicating a person, much like a pile of hats and black cats (“They’re all your hat.”). The first duplicate is killed, then every night for 100 nights straight, the man performs the “Real Transported Man”, constantly duplicating himself and either he or one of his duplicates winding up in a tank of water below the stage they perform upon. Perhaps the true prestige is that the other man pulled his trick off using a twin brother, while the other sacrificed his life and the lives of duplicates for the look on people’s faces when they witness his great trick.

Perhaps the solution is simpler, and the machine never worked to begin with, and Tesla was just a distraction from the real trick, the use of a double. And perhaps when that man found out he’d been tricked, he chose to use a double from prior engagements, a drunkard stage actor, to help pull off his great illusion, and no one ever drowned until the night his rival came up on his stage. Maybe a trick lock was always used beforehand and replaced with a real one to setup the rival. Maybe the duplicates seen in a morgue or standing erecting in water tanks at films end are nothing more than wax figures. And maybe the revelation that his rival used a double all along makes his efforts seem fruitless in his final moments. Maybe the prestige of the film is that simple yet no one wants to accept it because of the simplicity, and certain science fiction infused elements like a machine capable of duplication are far too compelling and obvious a solution to be ignored.

Maybe we’re not meant to solve the mystery, just be driven mad by our own obsessions with it. Maybe we’re all Angiers.

Conceptually Speaking: An Interview with Sylvain Despretz by Kent Hill

 

Sylvain Despretz really is the personification of honnête homme. And he has been a man of the world since an early age. Travel was a part of his life; the other constant being his love of the cinema.

He is an artist of great style and skill and after his schooling he worked as an art director for a top Madison Avenue agency then moved on to illustrating Graphic Novels in California under the mentoring of the internationally famed artist Moebius. From there he would set out upon what would become and astonishing career as a story board artist and conceptual designer.

 

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His work you’ll have seen, gracing the screen in a myriad of films in a variety of genres. Movies like Gladiator, Alien Resurrection, Panic Room, The Fountain, (Tim Burton’s) Planet of the Apes and The Fifth Element. These including work on Don’t tell Mom the Babysitter’s Dead and the coming Luc Besson sci-fi extravaganza: Valerian. He has worked with  and on films directed by the true masters of the screen including Ridley Scott, Stanley Kubrick, David Fincher and Jean-Pierre Jeunet.

But, as you will hear, Sylvain has become disenchanted by the current repetitive nature of Hollywood’s cookie-cutter output. He is now driven by the notion that the only way to usher in change, is to be part of a creative revolution that places an emphasis on original voices instead of corporate responsibility.

 

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To this end he is now embarking on a journey that will see him stepping away from the drawing board and moving behind the camera; bringing his own visions to life using that mysterious blending of industrial light and storytelling magic.

He is a learned Hollywood veteran who has seen the Dream Factory from the inside, and his stories and wealth of knowledge and experience was and is fascinating to experience.

The designer behind the scenes and the future man in the director’s chair, proud am I ladies and gentlemen to present this interview with the one and only, Sylvain Despretz.

VISIT SYLVAIN’S OFFICIAL SITE:

http://www.metaprogram.net/

Dark Cities, Dark Futures, Dark Caves: An Interview with Bruce Hunt by Kent Hill

Young Bruce Hunt loved movies and blowing things up. This love, and learning the basics of the craft from film magazines of the period, would firmly cement in his mind the path on which he would travel. As it was said in a film that Bruce would later work on, “Fate it seems, is not without a sense of irony,” a teenage Bruce would encounter Academy Award winning special-effects artist Dennis Muren in a cafe in London.

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It was Muren that would advise the dreamer to seek out an effects house in his native Australia for possible future employment and, after art school, that is what the talented Mr. Hunt would do. Working with small production houses on commercials his work would soon catch the eye of the founder of one of these companies, a man named Andrew Mason. It would be Mason, producing a film directed by Alex Proyas called Dark City, that would call on Hunt to bring his passion, and by then, professional eye for effects photography to his first big screen gig.

Work on another big flick would follow, as Mason would again tap Bruce and bring him to work on the Wachowski’s cinematic masterpiece The Matrix. There would be work on the film’s sequels before, at last, Bruce would sit in the director’s chair for The Cave, an adventure in deep terror. He would emerge from the darkness to work on Baz Luhrmann’s Australia only to descend again soon after for Guillermo del Toro’s Don’t be afraid of the Dark.

Through it all his love of the movies continues to drive him and, as you will hear, he has plans to get his visions back on that big screen, just as soon as he can. It was great to sit down with Bruce. Not only is he a filmmaker I admire, but it was great to just talk about movies with him.

If you don’t know his work then now is the time to check it out. But, if you already have and you’re a fan like me – then kick back and enjoy.

Ladies and gentlemen, I give you my good mate . . . Bruce Hunt