Silent Night, Deadly Night (Film) Review

Kicking off December with a Christmas horror classic (?). This tale is all too real to be honest and I find myself siding with the (hot) antagonist, which is always rather worrying.

There’s not much more I need to say by way of introduction, other than – I think the Christmas/Horror hybrid sub-genre is one of my favourites.

*Spoilers*

Silent Night, Deadly Night (1984)

IMDB Synopsis

After his parents are murdered, a tormented teenager goes on a murderous rampage dressed as Santa, due to his stay at an orphanage where he was abused by the Mother Superior.

Leave Billy alone!

My Review

You know what a little kid doesn’t need when he becomes an orphan? To be abused by a sadistic Mother Superior.

You know what a little orphan kid who’s witnessed the slaying of his entire family at the hands of an evil burglar dressed as Santa Claus especially doesn’t need? To be abused by a sadistic Mother Superior. And here’s me remembering how hard I had it learning GCSE Maths from Sister Ursula and her extra long metal ruler.

From the beginning:

Billy and his family go to visit his catatonic grandfather in a nursing home on Christmas Eve. Gramps is completely unresponsive to everyone around him until Billy is left alone with him for a moment, and then it’s party central. Gramps grabs Billy and tells him a horrifying story about Santa Claus and what he does to naughty kids when they’ve been shits. Poor Billy is terrified and his parents aren’t particularly sympathetic when he tells them about it later.

This might have turned into an amusing anecdote for Billy to regale his own family with years later had it not coincided with a criminal dressed as the big man himself running their car off the road and then killing everyone but Billy and for no good reason, either.

Years later and the orphan Billy is getting a lot of shit from the Mother Superior as mentioned above. The woman is horrible and completely unsympathetic to anything vaguely childlike (kind of my hero) – and she especially takes pleasure in spanking naughty kids. She also forces Billy to be around Santa, even though she knows how triggering the notion of Saint Nic is to this poor child.

Nice work uniform, Billy

The only real light on the horizon is Sister Margaret who totally has Billy’s back and tries to do what she can to make his life better. Ten years later and Billy is a buff young honey who gets a job in a toy shop. This is great and we even get a working hard montage to show us how well he’s getting on in the professional world.

Billy is clearly well-loved and enjoys a flirtation with a pretty young colleague. The only fly in the ointment is the Christmas period and it gets worse for Billy when he’s promoted to store Santa. Can you even imagine what that would do to a person?

Billy gets on with it as stoically as he can, though on the night of the office party something inside him snaps and he does something he can never take back (clue: it’s not getting off with the slightly creepy dude from Accounts).

And the thing is, once he gets going he can’t stop – so eager is he to punish the naughty people of the world. Some of his victims deserve to be sliced and diced (rapists/nasty bullies) and some of them don’t really (highly sexed babes/his boss) but Billy is relentless in his judgement. He slaughters with gay abandon and it all seems to be leading up to a terrible swan song: revenge on the old bitch that made a nasty situation so much worse…

“What do you mean red isn’t my colour?!”

Sister Margaret teams up with the feds to try and track down Billy, whom she still has every sympathy for and sidenote: she totally reminds me of Doctor Lomax in Halloween. In a race against time, Margaret and co have to get to the orphanage before actual hell breaks loose.

Can they save Billy from himself and MP from the fate she so richly deserves before it is #toolate?

Hmmmmm.

My Thoughts

This does exactly what it says on the tin. The eighties vibe is deeply enjoyable and Billy looks super cute in his Santa suit – the killings are OTT and satisfying. There’s a lot of boob and classic horror movie tropes (aka the slut gets it) which is fun but also highly offensive and tiresome by today’s standards. I’d like a remake please.

Billy saves his work crush from potential rape but then murders her because she’s a witness to his first murder – or is it because he’s judging her by her bad behaviour aka putting herself in a situation where she could get herself raped? Or… is it because she rejected him in the first place?

Billy is all shades of messed up and who can honestly be surprised about that? If only he’d got the help he deserved in the beginning, eh? I think it’s an interesting take on PTSD and for a change not just a clichéd escaped mental patient storyline.

Sure it could have been way better but I like it for the kitsch value. And I’m 100% on Billy’s side – fuck everyone.

Billy with have NUN of your nonsense, Mother Superior

My Rating

3.5/5. Fun. Bloody. Silly af.

What does my queen think? Would she lop this one’s head off or… not? Find out here!

Blow Out (Film) Review

April will be Blog Free and Die Hard Month which is always a good one for us as it clears films off our Netflix lists and doesn’t restrict us (or make us think too hard). I’m a fan of not thinking too hard right now.

This week is my pick and I think I’ve started the month with a bang. Like, literally with a bang…

Without further ado!

How good is this poster? *heart eyes*

Blow Out (1981)

IMDB Synopsis:

A movie sound recordist accidentally records the evidence that proves that a car accident was actually murder and consequently finds himself in danger.

My Review

Young Travolta (and his beautiful bum chin) is a sound engineer for the movies. Sort of in the mold of Toby Jones in Berberian Sound Studio but trashier. Because American slashers not Italian are trashier by default, amiright?

He’s working on a film called Co-ed Frenzy (which sounds incredible) but in post-production it becomes clear that their shower scene victim just doesn’t have the lungs to match her… well, lungs (if you know what I’m saying). So Young Travolta, character name Jack Terry, decides to go out and find a more realistic scream. He’s nothing if not professional, alright?

Out on his first night with his mic, picking out the sounds of NATURE, Jack witnesses a terrible car accident. Not only does he see and record it all, he also gets stuck right in when he jumps into the drink and fishes out a young woman trapped inside the car. While submerged, our Jack sees the body of a man and it’s not looking good for that guy at all.

Young T is smokin’ – and also smoking

At the hospital, Jack smokes and swaggers around a lot, and I couldn’t respect it more. Also, I know it was the eighties but I swear he practically barges through operating theatres with a lit cigarette looking for the girl he’s just saved. Nobody stops him or politely asks that he put his god damn snout out in a sterile environment. Ah, the eighties.

Anyway, things are a bit fishy at the hospital as, while Jack is telling the cop what happened and what he saw, he is being strongly persuaded otherwise. This is not Jack’s first rodeo though and he sees through the manipulation. Later, after he’s had a chance to speak to Sally (Nancy Allen), the woman from the car crash, he is approached by some dudes and it is suggested that Sally be left out of all narratives moving forward.

Turns out Governor (and presidential candidate) McRyan was the bloke in the car and these men explain that it would suck big time if his family found out he’d been ‘entertaining’ an escort (Sally) at the time of his death. Which sounds legit but why are men always such the worst?

Sally is a total ditz but she’s a nice enough chick. It seems Jack has a soft spot for her too as they take off to a motel together to avoid any media attention (which sort of makes sense but also, nobody’s supposed to know about Sally). Unfortunately, there’s a more sinister plot at play here as Jack plays back his recording and distinctly works out the sound of a gun shot (before the blow out that sent the car crashing into the river).

“Don’t yooooo step on my blue suede boots.”

At around the same time, a ropey photographer called Manny Karp (best name ever) comes out of the woodwork with a series of pictures from the crash. Jack works out via ingenious methods (makeshift flip book) that the tire was indeed shot out but somewhere along the line evidence to prove this is tampered with.

There’s a sinister mystery man stalking around in the background you see, (played by the excellent John Lithgow) and he’s gone rogue. I don’t want to spoil things too much but it turns out Sally is part of a blackmail campaign that goes array and results in the death of the Gov, at the hands of Burke (our villain). Sally was also supposed to die and it’s a problem that she didn’t, let’s face it.

So John Lithgow is going around committing the most organised crime I’ve ever seen in film – being serial killer “The Liberty Bell Strangler”, who kills women who look like Sally in the most violent way, just so he can murder Sally later on and it not seem suspicious. Keeping up?

“Hi Tom, of course I’d like to come to your party… I Xenu you wouldn’t forget to invite me…”

It’s awful that he’s doing this but it does lead to some very imaginative scenes and one particularly grubby murder. Meanwhile, Jack persuades Sally to help him uncover the murder of the Governor via his recordings which so far nobody believes and they get involved with a famous talk show host who seems willing to help them.

The climax of this grisly tale is bonkers, if I’m honest but also GREAT. Lithgow pretends to be Frank Donahue, the host and manages to persuade Sally to meet him with all Jack’s evidence. Unfortunately, the lovely Sally is not what you’d call the sharpest tool and goes with him to the Liberty Bell parade where he corners her – the question is, can Jack (who’s been listening in on his headphones) get there in time to save both her life and the evidence? Well, perhaps.

Will he also collect the one thing he set out to before the credits roll?

The ending is something else, honestly. I’m shook.

Don’t trust him, Sally!

This is a rip roaring thriller with the occasional unintentional hilarious bit (I’m thinking about Jack’s frenzied chase by car into the centre of the Liberty Bell parade). Most of the acting is a little half-arsed – though Lithgow was born to be a villain and is totally perfect.

I love films like this that expose the underbelly of humanity, and this film is grimy AF and fun, even. It looks incredible, as do the cast and the costumes. The only thing that really grated on me (ironically) was the music. At some moments it is so jarring that I got completely distracted and had to rewind just so I could follow.

This is no Scarface, but De Palma does it again.

My Rating

4.5/5. Strong. 

What did the Queen of my heart make of this bad boy? Find out here as usual. ♥️

Velvet Goldmine (Film) Review

Never knowingly underdressed

Another week has just passed us by and we’re bringing you another Ewan McGregor flick because, well, do we really need a reason? He gets his willy out in this one if that’s any consolation (probably not TBF) – plus, it really is rather a glamorous thrill ride this one (the film, not the willy).

Relax, I’m not going to make this entire post all about the swinging appendage that is Ewan McGregor’s front junk but I would like to. Luckily for all concerned, this film has enough else going for it that I won’t need to mention it again (maybe once more).

It’s my choice this week, next week we’ll be spending time in Hell with the Cenobites once more (or will we?). Until then, it’s platform heels and crushed velvet bell bottoms all the way.

Shall we begin, class?

*As always spoilers*

Velvet Goldmine (1998)

Director: Todd Haynes
Stars: Ewan McGregor, Jonathon Rhys Meyers, Toni Collette, Eddie Izzard, Christian Bale

IMDB Synopsis: In 1984, British journalist Arthur Stuart investigates the career of 1970s glam superstar Brian Slade, who was heavily influenced in his early years by hard-living and rebellious American singer Curt Wild.

My Review:

Arthur Stuart (Bale) is a journalist tasked with finding out what happened to notorious glam rocker Brian Slade, after an ill-advised publicity stunt all but obliterates his career in the seventies. It is now 1984 and things look pretty grey in comparison to the Technicolor disco ball dream of the swinging seventies.

Stuart is himself gay and following a series of vignettes, we learn a few things about his difficult personal journey and how it runs parallel with the lives and loves of Slade himself, and Slade’s long-term inspiration, Curt Wild.

Importantly, we get to see just how these men have had a personal influence on Arthur.

The polar opposite of glamorous

Whilst seeking out Brian Slade, Arthur interviews a collection of people who have been touched in some way or another by the enigmatic and flamboyant star, including Slade’s one time wife, Mandy Slade; his former manager and a lot of people in between.

The question on Arthur’s mind (and thus, ours) is: what became of Brian Slade and where the fuck is he now?

VG undulates all over the place time-wise so this post will be anything but linear. It doesn’t matter at all though as the meandering lends the film a dreamy tone that compliments its subject matter. Plus, you mostly just came along for the ride, didn’t you?

Arthur’s memories help us piece together a picture of what his home life was like before he fell into the glam rock lifestyle and essentially finally found himself a tribe to which he belonged. Like Bowie did for many people, so Brian Slade and later, Curt Wild gave Arthur the inner strength to find himself and later come out, to the horror of his conservative parents.

“Mum! I’m just popping down Tesco, need anything?!”

On the night of the ‘assassination of Brian Slade’ (which is later uncovered to be a hoax), Arthur is there and this act proves to be a turning point in not only his life, but Slade’s too.

The trajectory of Slade’s glittering career isn’t perfect, however after years on the circuit without much to show for it, things start to look up for him. He ditches his loyal manager, Cecil (Michael Feast) for the slightly more funky Jerry Devine (Izzard) and things happen fast.

Slade also meets the fabulous Mandi and the pair quickly marry. They’re very much an ‘It’ couple, though it’s an open relationship where anything goes for our sexually fluid friends. Everyone’s happy and free until Slade travels to America to connect with a performer he’s had his eye on from almost the start, one Curt Wild.

(Our first introduction to Curt Wild is a rousing stage scene in which he gets stark bollock naked and fondles himself while the crowd jeers).

“Shit, Adam Ant’s over there, he’ll be wanting his jacket back.”

Slade gets his way and Wild comes to England to cut a record with him, though he brings with him his own battered baggage (junkie, innit). The pair share a connection that threatens the future of The Slades’ marriage and will change the course of all their lives forever.

Fame is also a bitch and as the pair get more and more known, and Slade allows himself to be taken over by his alter-ego “Maxwell Demon”, things start to fall apart irrevocably. Not to mention the fake shooting which fans are not at all amused by.

The breakdown off the Slades’ marriage is told to Arthur by Mandi herself, now nursing a stiff whiskey in a dive bar in London. She looks broken, a former shadow of her glitter bug self. Time has not been kind it would seem, and neither was Brian at the end of their bitter-sweet time together. You can’t help but feel sorry for her.

FYI, Slade-era Mandi has THE BEST WARDROBE EVER *heart eyes emoji*.

Fucking fabulous forever

Meanwhile, Arthur is still searchin’ and hopin’ – and coming up empty handed. There’s no Brian Slade in the phone book, see. But his investigation leads him back to Curt Wild, who it turns out, has met Arthur before, though it’s not clear if he remembers. Arthur does though and the two share a moment.

Arthur has also been taken off the Slade story due to lack of public interest and put on coverage of the Tommy Stone tour. What does it all mean really?

Questions:

Will Arthur finally work out the big mystery?

“Must pick up bleach on the way home…”

My Thoughts:

Loved it I did. I can’t believe it’s taken me 18 years to watch this movie. The performances are great across the board but I do feel as though this movie belongs to Toni Collette, who injects humanity into quite a superficial character, during quite a superficial period.

Ewan is perfect in all his Iggy Pop-esque glory and gives Curt heart where he could easily have been just another broken casualty of a hardcore lifestyle. I really believe that Curt loved Brian Slade, and it was beautiful and heartbreaking in equal measure.

I don’t like Rhy Meyers for some reason. I think it’s his haughty face which I’ll admit is perfect for Slade. Brian Slade isn’t one for heavy dialogue, he sings and he looks beautiful, those are his USPs. When he disappears you almost don’t notice, it’s like he was never really there, never really real. (Ooh deep).

I didn’t altogether buy the ending, it doesn’t seem feasible to me so I might need to talk that out with you, Jill! I was all a little like WHAAAAAAA? as the credits rolled. Maybe I misunderstood but it doesn’t ring very true to me. It’s almost like the ‘Grease ending’ – where the fuck did the flying car suddenly come from?

That’s my only criticism. This film was more or less made with me in mind.

I love that you can easily recognise real life performers here in their loose fictional disguises – Bowie! Pop! Bolan! – and it’s super fun. I also loved the smaller cameos throughout – Brian Molko! – the costume design, the music. It’s spot on.

My Rating: 4.5/5 -My disbelief in the ending is the only thing that marks this down. 

Did Jillian want to kick up her platform boots and dye her mullet baby blue or is she ready to say goodbye to Glam Rock forever? See for yourself here.

NB: I nearly went on strike writing this review as I kept losing my work and had to type it from scratch at least twice. I nearly marked the film down for my technological frustrations, GODFUCKINGDAMMIT!

I’m over it now.

Hellbound: Hellraiser II (Film) Review

This might be the greatest thing that’s happened to our reviews in a long time, (horror wise), certainly since A Girl Walk Home Alone at Night (which is really amazing, if you haven’t seen it yet).

I was so happy when Jillian suggested this film for Horror Month. I love the first Hellraiser (1987) very much, not least because it reminds me of actually great horror movies and iconic horror characters.

Pinhead is up there with Freddy, Jason and Michael Myers for me, so much so that I feel like these slightly misunderstood band of brothers could be my movie uncles. Sure, I’d probably keep them at arm’s length but at least Christmas would never be boring.

Anyway, despite being a big fan of Hellraiser, I’ve never attempted to watch the sequels. Of which, in this case, there are eight of the slippery little suckers. 9 Hellraiser films in total! I can’t say that I’ll spend much time digging any deeper into the franchise from here, but it’s nice to know that the option is open to me if I want it.

But, to number 2 which was thrilling, ridiculous, nostalgic and wonderful – and so much more. SO MUCH MORE, MAN.

Before we begin, this is your weekly *Spoiler Alert* warning, plus I feel as though I should slap on an additional, *this is kind of gross* disclaimer as some of the screen caps I’m going to use might make you feel sick. There’s a lot of gore in this bad boy.

Off we go, horror heads!

Hellbound: Hellraiser II (1988)

Director: Tony Randel
Stars: Doug Bradley (Pinhead!), Ashley Laurence, Claire Higgins

IMDB Synopsis: Kirsty is brought to an institution after the death of her family, where the occult-obsessive head resurrects Julia and unleashes the Cenobites once again.

My Review:

#squadgoals

Kirsty, from the first film, has been kept in a mental ward while the cops and doctors work out what the hell went on back at her house. Her dad is dead, her step mother slaughtered and the whole building needs to be condemned as it’s literally crawling with maggots and grime from the corpses of dozens of unwitting strangers.

(Don’t worry if you’ve forgotten what the fudge went down in the first movie, a short amount of the way in there’s a handy recap in the form of Kirsty re-telling her story to a doctor, which is very smoothly done, I think.)

Oh but, before we meet up with Kirsty again, we get a brief origin flashback to the man we’ve come to know as Pinhead, before he was eviiiiil. I mean, you didn’t think he popped out of his momma with a head full of spikes, did ya? (Yeah, I kind of did. How cute would a baby Pinhead be?). It looks as though he was some sort of explorer before he got his hands on the box.

Postcards from the edge

Back to ‘present day’ and Kirsty is struggling with the fact that her father is dead but still visiting her to tell her he’s in Hell and needs her help. Thanks Dad, but what’s she supposed to do, really?

While she’s being interviewed, she overhears an inept detective saying that they’ve found a bloody mattress in her old house. She goes mental and says that it must be destroyed otherwise Julia, Kirsty’s bitch step mother could come back.

Somewhere around here, brain surgeon Doctor Channard (Kenneth Cranham) pops up and he’s got wind of this mattress situation, weirdly. His colleague, nice Kyle McRae (William Hope) overhears Channard organising delivery of the mattress to his home address and not the hospital, though I can’t remember now why or how he has any authority over its destination, given that he’s a surgeon, not a police officer but never mind.

Channard is seen near the beginning of the film performing a lobotomy on a conscious patient and waffling on about the power of the mind, or whatever, and then he takes us on a depressing tour of the hospital’s basement, which is essentially a Victorian lunatic asylum.

The patients are all straight-jacketed up, mostly incoherent and some are hallucinating, like the poor man who is haunted by crawling insects. Channard swans around like the evil proprietor and you can just tell he’s not a warm and fuzzy type.

*SURPRISE!* (I’ve censored this picture as best I can, too much?)

Kyle McRae is nice to Kirsty and believes her story when a lot of other people are suspicious of it. For some reason he takes it upon himself to sneak into Channard’s home to have a little snoop about. He lives to regret this decision when Channard brings home an unsuspecting victim (poor old insect dude) and feeds him to the mattress.

You don’t read a sentence like that everyday, do you? What follows is probably one of the most disgusting scenes I’ve ever seen (and I’ve seen the Human Centipede franchise) as Julia is bloodily resurrected.

Worst possible guest to have over to a pure white house

She’s pretty foxy for a skinless woman, I’ll give you that and Cannard is smitten. Turns out he’s been obsessed with the little puzzle boxes for years, and owns several of them. There’s a plan somewhere in the works, involving another of his patients; the mostly mute but clever Tiffany, whose speciality is complicated puzzles. Oo-er!

But before that, Channard brings home a lot of strangers for Julia to suck the life force out of, until she is a complete woman again. Unfortunately, her last meal is Kyle McRae so he’s not much use in the end. Leave it to the girls to rescue themselves, as usual.

More consequences than the Rubik’s Cube

Once Julia is back, she and Channard get Tiffany to open the box, and subsequently the gateway to Hell because Julia is apparently now the Queen down there and Channard wants to see it with his own eyes. Kirsty wants to find her father and make sure he’s okay.

Once in Hell, which now looks like a thorny castle grounds with a lot of weird mazes, corridors and an abandoned fairground (basically the set designer has gone all out), shit kicks off and the Cenobites appear again. This time they want Kirsty’s flesh, not another plea bargain.

Pinhead tells Kirsty she can’t do anything for her father as he’s in his own personal Hell, while she’s about to face hers. Then he very kindly tells her to have a look around, because they have all eternity to savour her.

“Last Christmas…”

This review has got massively long already and there’s loads more to cover so I’ll highlight a few points before we wrap up. Pervy Uncle Frank pops up again and tries to get his former lover Julia back but she’s done with his shit finally.

Channard is turned into the most gruesome (and phallic) Cenobite to date and goes on a rampage across the hospital, amputating limbs as he goes. Later he squares up to the other Cenobites but not before Kirsty does a big speech, and gives Pinhead an old photograph she found of him, which reminds him he was once human too.

The end of The Green Mile gets me like that too, boo 😦

He actually let’s her and Tiffany go before facing off to Channard’s fucking hideous Cenobite. This particular scene is really quite sad and thought-provoking, which isn’t something you’d ever imagine about these heinous creatures but defy you not to go “Aw”.

To the Questions, Holmes and don’t spare the horses! Will evil Queen/step mother Julia get her comeuppance? Also, is she a Queen just because she’s telling everyone she is, or is she actually kind of a big deal down in Hellsville? Will Tiffany and Kirsty survive to make the sequel?

Can everybody please stop french kissing each other please? It’s gross and most of you don’t have skin.

I’ll leave it at that but please know that if you watch this movie, you are in for a bloody, surreal and fucking brilliant ride. You know, if you like that kind of thing.

“You can’t have the secret to my big hair! I’ll never tell!”

My Thoughts: 

I loved this, I did. It was horrible and made my stomach turn more than once but it reminded me why horror was such a great genre back in the eighties.

It very rarely gets this good nowadays but I understand that these things have to evolve. I don’t know how well Pinhead would go down to the modern crowd if he were to be introduced for the first time but that’s okay, he’s a classic and to me, always will be.

A few times I was a bit confused, like, I don’t really get what happened to Tiffany’s mother, though it looks like she was harmed in a flashback scene. Why?

I also don’t get why, when Frank was fully resurrected in the first film (but shown in flashback in this one), he had to have Kirsty’s dad’s face (because Frank used his skin) but that Julia got to look like herself when she used a total stranger’s. I mean, continuity peeps!

But otherwise, what’s not to love? It’s fun, it’s disgusting, at times it’s genuinely scary and I also really enjoy that this is an English horror movie, unlike the Halloweens, etc. It’s nice to know we can/could do Video Nasties with the best of them.

My Rating: 4/5 (because I ❤ Pinhead 4 eva).

So, was Jillian a fan too? Pop on over to see for yourself!

A Hump Day Treat

Dare you to listen to this without smiling.

In case you’re curious, the lyrics:

What are words worth?
What are words worth? Words

Words in papers, words in books
Words on TV, words for crooks
Words of comfort, words of peace
Words to make the fighting cease
Words to tell you what to do
Words are working hard for you
Eat your words but don’t go hungry
Words have always nearly hung me

What are words worth?
What are words worth? Words

Words of nuance, words of skill
And words of romance are a thrill
Words are stupid, words are fun
Words can put you on the run

mots pressés, mots sensés,
mots qui disent la vérité, mots maudits, mots mentis,
mots qui manquent le fruit d’esprit

What are words worth?
What are words worth? – words

It’s a rap race, with a fast pace
Concrete words, abstract words
Crazy words and lying words
Hazy words and dying words
Words of faith and tell me straight
Rare words and swear words
Good words and bad words

What are words worth?
What are words worth? – words

Words can make you pay and pay
Four-letter words I cannot say
Panty, toilet, dirty devil
Words are trouble, words are subtle
Words of anger, words of hate
Words over here, words out there
In the air and everywhere
Words of wisdom, words of strife
Words that write the book I like
Words won’t find no right solution
To the planet earth’s pollution
Say the right word, make a million
Words are like a certain person
Who can’t say what they mean
Don’t mean what they say
With a rap rap here and a rap rap there
Here a rap, there a rap
Everywhere a rap rap

Rap it up for the common good
Let us enlist the neighbourhood
It’s okay, I’ve overstood
This is a wordy rappinghood, okay, bye.

What are words worth?
What are words worth? – words

What are words worth?
What are words worth? – words

He’ll stop… Don’t stop… Stop.

AMAZING.