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Now that Olivia Wilde has put rumors of a turbulent post-divorce love life to bed by revealing to Jimmy Kimmel (July 27th) that there’s a “no sex hex” on her new home—supposedly left there by a certain trio of notoriously chaste brothers—it’s time to draw attention back to her acting. That is, as far as there ever was any attention; Wilde seems to have fallen prey to an all-sex hex, meaning that reviewers cannot seem to get past her physical appearance.
Wilde is quickly establishing herself as the breakthrough star of 2011 on the big screen. While many already know her from television series such as House (Dr. Remy “Thirteen” Hadley) and The O.C. (Alex “Marissa’s girlfriend” Kelly), from last year’s holiday blockbuster Tron: Legacy, or simply from topping Maxim’s Hot 100 list, attention to her acting prowess has been limited in favor of discussions of her characters’ bisexuality or the actress’ supposedly turbulent love life. This summer, critics will have another shot at making things right: she’ll be all over a theatre near you, in Jon Favreau’s much-anticipated Cowboys and Aliens and the Ryan Reynolds/Jason Bateman-fronted body switch flick The Change Up, and butter-carving Butter and In Time are also scheduled for release this year.
It was an ambitious decision. With the success of Saving Private Ryan and books like The Greatest Generation, Hollywood and the viewing public’s newfound love affair with World War II was about to get a whole lot trickier. Clint Eastwood announced that he intended to take on the Battle of Iwo Jima – one of the conflict’s worst and bloodiest – and present it from two perspectives. The first would be this Western/Allie/American side of the story, with that famous photo of the flag raising beginning the dramatic dissertation. From there, the hero worship accompanying the soldiers, plus the search for the real story behind the shot, are given an equally evocative treatment. For many this was the lesser of Eastwood’s daunting double feature. The all Japanese Letters from Iwo Jima would be considered the material’s masterpiece. Still, this is a wonderful motion picture, addressing issues not usually associated with a war movie. (29 September, Cinemax, 10PM EST) 
Michael Mann’s uninspired update of his seminal ‘80s TV series avoids all of the arch art direction and soundtrack spoils that gave the MTV-inspired crime drama its signatures. Instead, we getting Colin Farrell and Jamie Foxx doing Scarface for an audience more interested in pastels and Glen Frey than undercover acrobatics and moral indecision. (29 September, HBO, 8PM EST) 
Movies based on books run the risk of angering more than one demographic. You have devotees to the tome, individuals hoping for complete authenticity. On the other hand, you’ve got film fans who just want an engaging entertainment. This adaptation of Augusten Burroughs autobiographical work satisfied neither. It missed too many of the memoir’s finer points, substituting obvious quirk in their place. (29 September, Starz, 9PM EST) 
Here’s a weird idea for a romantic comedy – let’s focus on the adventures of an amiable slacker who won’t leave home, even after he hooks up with a socially acceptable hottie. Matthew McCanaughy is the likeable sponge. Sarah Jessica Parker is the horse-faced catalyst who’s supposed to inspire, and then spring him. It’s all very touchy feely and phony as Hell. (29 September, Showtime, 8:15PM EST) 
Kill Your Idols starts off with a stellar premise for a documentary. Hoping to trace the history and growth of the No Wave scene in mid ‘70s New York, director S. A. Crary rounds up a few of the usual suspects – and a couple we desperately hope to hear from – and turns the camera on their open, opinionated selves. For anyone who grew up in the period, only ‘hearing’ about artists like Lydia Lunch or Suicide from their more hip and haughty pals, this is a chance to get in on the ground floor of the significant sonic movement and see what all the fuss was about. In many ways, this approach will probably copy your reaction to this fine, fragmented film. On the one hand, you will definitely find these aging musical anarchists an intriguing and engaging bunch. But there will be folks who hear the racket these reasonable people made and bristle at such an atonal attack. For them, no amount of erudition can make up for their lack of melody. (01 October, Sundance Channel, 11PM EST)
Paul Giamatti is writer Harvey Pekar, a miserable man who channels his angst into the title comic. Along with friend Toby Radloff (the genuine nerd of Cleveland, Ohio), they work as file clerks for the VA. This astounding biopic follows the cult figure’s rise to prominence…and the pitfalls along the way. (01 October, IFC, 9PM EST)
One of hardcore’s penultimate titles gets a documentary breakdown thanks to director Francis Hanly’s overview. This is really nothing more than a UK look at America’s obsession with smut, an episode from Channel 4’s sensational The Dark Side of Porn. Still, it definitely deserves a look. (02 October, Sundance Channel, 2AM EST)
He remains an icon of evil, a man so disturbed that he could only satisfy his psychosexual cravings via vivisection and cannibalism. When he was caught, the slaughterhouse state of his apartment indicated a darkness much deeper than anyone thought. Too bad this small indie effort fails to capture any of these elements. (03 September, IFC, 9PM EST)
In an ADD hampered cinematic society which thinks films like Crank and The Transporter are too restrained, this elemental Bruce Lee vanity project (which was completed posthumously after the noted Asian action star died) will appear almost comatose. But if you get into the mellow mood being presented, and actually listen to the many maxims offered up, you will definitely be engaged both visually and metaphysically. For many, Lee continues to be batted back and forth, marginalized and sanctified by critics on both sides of the conversations. Still, it’s clear that his impact on martial arts in the movies remains as strong as ever. No film featuring kung fu, karate, or any other form of Eastern training can make it into theaters without bowing to the man who more or less formed their commercial viability. While Circle of Iron won’t diminish his earnest reputation, it also won’t amplify it. Instead, it remains an individualized endeavor lacking its true inspiration. (01 October, Flix, 12:45AM EST)
It’s Billy Jack vs. Marlon Brando as TCM’s Underground brings chopper riding reprobate to the late night audience. Both movies here – The Born Losers and The Wild One – have been featured before, so if you love ‘em, here’s your chance to enjoy them all over again. If you’ve never seen them, you’re in for some remarkable man vs. motorcycle madness. (05 October, TCM Underground, 2AM EST)
British auteur Michael Powell and his longtime collaborator Emeric Pressburger created this decidedly adult take on the Hans Christian Anderson fairytale, and critics have been beside themselves ever since. Remarkable in its use of color and art design, yet equally imposing in its acting and dance performance, this is a masterpiece for the ages. (30 September, Retroplex, 11:40PM EST)
Okay, so it’s a TV movie. Sue us. We here at SE&L just can’t get enough of Dan Haggerty’s hokey mountain man persona, and this old fashioned melodrama has enough wonderfully weepy elements to push all of our guilty pleasure buttons. Come on – it’s got wrongful accusations and kids being threatened by a trip to the orphanage. How can you say no? (02 October, Drive In Classics Canada, 10:30PM EST)
They say that every actor wants to be a rock star, and visa versa. Truer still is the notion that every comedian wants to tackle serious subject matter now and again – even if it means the end of their solid slapstick spoils. The latest former funnyman going the quasi-dramatis route is Will Farrell, and he appears to be following in the footsteps of one James “Jim” Carrey to get there. This Truman Show like effort, in which Farrell’s IRS agent Harold Crick begins to hear a disembodied voice narrate his life like it’s a novel, flummoxed fans of his SNL style silliness, while providing diehards attracted to his big screen fare (Talladega Nights, Blades of Glory) with a reason for pause. Overall, the novelty of the narrative helps us past some of the more pat and cloying circumstances, and the supporting cast (including Oscar winners Emma Thompson and Dustin Hoffman) help round out a remarkable company of characters. Still, the question becomes – do the devoted want to see their jester putting on the realism, or the ridiculousness? (22 September, Starz, 9PM EST) 
Brian DePalma, once a Hollywood heavyweight with his Hitchcock homage style, has fallen on some substantial hard times as of late. This LA Confidential retread, a routine reading of James Ellroy’s novel about the mysterious murder of a Hollywood starlet, is ample proof why. Instead of focusing on the compelling real life case, he goes off on tangents so surreal that even diehards couldn’t figure out his motives. The result was one of 2006’s biggest blunders. (22 September, HBO, 8PM EST) 
If there were such a thing as crudeness copyright infringement, the Farrelly Brothers would be up to their necks in proactive litigation right about now. Still milking the There’s Something About Mary school of basic bodily humor, the siblings Russo (Joe and Anthony) use the overdone concepts of non-erotic male bonding and arrested development to create one of several reasons why Judd Apatow had to step in and save big screen comedy. (22 September, Cinemax, 10PM EST) 
Tom Cruise tempted filmic fate one too many times with the further adventures of Ethan Hunt and his IMF gang. The only individual who actually benefited from this non-charming third time though was director JJ Abrams. While the movie may have been a less than spectacular blockbuster, it gave the man behind Lost enough cinematic stature to take over the Star Trek franchise. Talk about failing upward. (22 September, Showtime, 8PM EST) 
15 years ago, audiences were agog at the brand new CGI stylings of Robert Zemeckis’ brazen black comedy, a film fashioned to take on the superficiality of stardom and the overemphasis on anti-aging. Though the physical effects were also impressive, it was the concept of combining the real with the motherboard rendered that truly impressed audiences. Even the critical community, who found numerous flaws in both the storyline and the casting, couldn’t deny the visuals’ visceral power. After all, you had Goldie Hawn and Meryl Streep systematically destroying each other in a baffling biological battle royale. Oddly enough, the last decade and a half have only amplified Zemeckis’ message. And with the prevalent plastic surgery that’s now part of the cultural dynamic, the plot’s focus on an “anything for looks” ideal is even more potent. Why this one time blockbuster has ended up on the independent oriented Sundance Channel is something to take up with their staff. But as an example of how the cutting edge can remain razor sharp, this is a timeless wonder. (23 September, Sundance Channel, 10PM EST)
There’s a gimmick at the core of this 1994 off the radar entry – six separate writers collaborated to create the overall narrative drive. Such cinematic stunts usually don’t work, and for many, the results here were only average. Yet there are ardent defenders of this romantic drama. Be on the lookout for Quentin Tarantino as a boorish party guest who lets rip with a tirade on the obvious homoerotic overtones in Top Gun. (24 September, IFC, 10:30PM EST)
South Korean director Joon-ho Bong, got his first big exposure in the West with this sly, subtle serial killer procedural. Apparently, Asian law enforcement is ill-prepared for dealing with such systematic slaughter, and Bong infuses his film with some darkly humorous material, almost always at his bumbling policemen’s expense. While not as universally appealing as his follow-up, the monster on a rampage The Host, this is still an intriguing insight into crime in another culture. (24 September, Sundance Channel, 12AM EST)
Christina Ricci continues to polish her creative indie cred with this interesting romcom about a sorority girl who falls for a handicapped man. Life lessons are learned and horizons are broadened. For first time filmmakers Adam Larson Broder and Anthony Abrams, the biggest hurdle wasn’t avoiding cliché or maximizing character. It was getting this little seen gem any notice whatsoever. (29 September, IFC, 9PM EST)
It remains a strangely satisfying experiment in terror: writer/director Jack Hill hired former fright master Lon Chaney Jr., turned him into a sympathetic caregiver for a collection of craven creeps, and gave the whole thing a freak show veneer of macabre monochrome. Subtitled The Maddest Story Ever Told, no other underlying label ever did a better job of describing a yarn’s intentions. Featuring future human oddity Sid Haig as the repugnant Ralph, and Mantan Mooreland in a minor cameo role, this arguably bizarre family fright night substituted novelty and wit for nastiness and the wicked. Still, it will be hard for newcomers to forget the truly horrific ending. Paired up with another nightmare novelty from the ‘60s (Die! Die! My Darling), we’ve got one of the better double features offered by Turner Classic Movies late night film fest. Here’s hoping that a post-Halloween Rob Zombie can make an appearance as host. He single handedly resurrected Haig’s career, and his comments would be very telling indeed. (28 September, TCM Underground, 2AM EST)
While SE&L normally ignore TV offerings, the latest from The Civil War’s Ken Burns deserves a mention. This time, the talented documentarian takes on another country-defining conflict – WWII – and the results are reportedly masterful. One thing’s for sure – come Sunday night, the DVD player will be pushed aside for what promises to be seven nights of fact filmmaking at its finest. (23 September, PBS, Check Local Listings)
Back when Burt Reynolds was the reigning box office God, he flexed his fiscal reputation on the occasional obscure effort. This remains one of his best, the story of a dying man who enlists the aid of a manic mental patient to commit suicide. This ballsy black comedy defied expectations in 1978 and stands as proof that there was more to the actor’s persona than Smokey and the Bandit. (24 September, Retroplex, 10PM EST)
Sometime in the mid ‘70s, American International Pictures decided that Doug McClure was an action star. Go figure. The company created a set of schlocky projects for the former TV talent, and along with The People that Time Forgot and The Land that Time Forgot, this Edgar Rice Burroughs bunk ruled the passion pits. That’s okay – no one really knows why, either. (26 September, Drive In Classics Canada, 12:15AM EST)
Though he seems like nothing more than a post-millennial anomaly, Jack Black has been around a lot longer than you think. From a minor role in Tim Robbins’ Bob Roberts to a noted turn as a gung-ho soldier in Tim Burton’s Mars Attacks, the slightly psycho comedian has been acting, consistently since 1991. Yet it was his pairing with Kyle Gass and the creation of the Tenacious D – both as a band and HBO series – that skyrocketed him into the realm of…well, let’s just say it put his already known name definitively on the mainstream map. Since then, he’s made waves in big time blockbusters (King Kong) and his own idiosyncratic starring parts (Nacho Libre, The School of Rock). So why did this D revisit fail to ignite box office benefits? Part of the reason remains the program’s considered cult status. But it’s also clear that Black has outgrown the madman metal head persona. And audiences weren’t ready to see him revisit his past – at least, not yet. (15 September, Cinemax, 10PM EST) 
The death of TV Superman George Reeves is still shrouded in mystery. A notorious kept man, many have ruled his apparent suicide the act of a criminal cabal hoping to remove the taint of scandal from a high profile Tinsel Town marriage. This fictional film version of the tale implies and infers a great deal. Unfortunately, aside from the excellent performances, we really gain very little legitimate insight. It ends up a standard incomplete whodunit. (15 September, HBO, 8PM EST) 
Kid cinema has earned a rather repugnant reputation as of late, and movies like this one are the readily apparent reason why. Tim Allen freefalls even further in an already dying career arc as the ex-super hero leader of a think tank desperate to bring new underage conquerors to the world of humanity saving. It’s basically Mystery Men for the tween set, with lots of toilet humor and slapstick stupidity to reinforce the falseness. (15 September, Starz, 9PM EST) 
There is nothing more frustrating in the world of independent cinema than a filmmaker who doesn’t recognize the inherent value in the story they are striving to tell. Somewhere along the line, first-time feature helmer Theo Avgerinos got his cinematic wires crossed. Instead of taking this screenplay and cutting out all the quirky callbacks, he let the eccentricities subvert his subject, leaving us feeling overwhelmed by goofiness and angered by the lack of emotional heft. (15 September, Showtime, 12:30AM EST) 
Eleven years ago, Jon Favreau and Doug Liman paired up with pals Vince Vaughn and Ron Livingston to create this cult classic about pals putting on airs to score with the ladies. In retrospect, the combo didn’t do too bad for themselves. Liman went on to direct the first Jason Bourne film, as well as the Brad Pitt/Angelina Jolie romcom shoot ‘em up Mr. and Mrs. Smith. Favreau is currently in the creative hot seat, taking on comic book hero Iron Man for his long awaited big screen incarnation. And Vaughn has vaulted to the A-list of actors with his turns in Wedding Crashers, Dodgeball and the upcoming seasonal comedy Fred Claus. Yet the fun of revisiting this film more than a decade later is seeing all this talent concentrated in one small budgeted space. The movie’s mix of moxie and the moronic created a minor cultural phenomenon, with college kids calling each other “money” as a term of endearment. Nowadays, it functions as a window into the world of up and coming ‘90s icons. (20 September, IFC, 9PM EST)
Former music video director Mary Lambert made an impressive big screen debut with this surrealistic story of an amnesiac who can’t remember what she did the day before. Somewhere, in her head, she believes she may have killed someone. Overloading the noir-ish narrative with all manner of visual flair, many believed this director was destined for greatness. Sadly, she seems to have only stumbled since. (17 September, Sundance Channel, 10:50PM EST)
Troy Huturbise is fascinated by grizzly bears. Unfortunately, his desire to study them up close has lead to a problem – potential death. Viciously attack and left barely alive, it’s been his overriding goal to build an armored suit to allow for such intimate study. This documentary investigates the obsessed man’s motives, as well as the many machinations his bear-proof get up has gone through. (17 September, Sundance Channel, 11PM EST)
Guy Ritchie gave gun heads something to cheer about when he combined the best of Hong Kong ammo action and Quentin Tarantino’s rapid fire resolve to create this kinetic UK crime comedy. While not as good as the near flawless Snatch, it is a perfect example of what made the moviemaker a cause celeb several years ago – and why his fading fortunes are all the more depressing. (18 September, Sundance Channel, 11:15PM EST)
It’s impossible to deny Ingrid Bergman’s beauty. The Swedish knock out was indeed incredibly easy on the eyes. Yet she was also a terrific actress, bringing a genuine warmth and sense of sophistication to the roles she essayed. In this, her first American feature, she plays the new piano instructor of a married violinist’s little daughter. The two adults become instantly smitten, and while on tour, their feelings grow. Yet the noted virtuoso (played expertly by Leslie Howard) realizes he still has strong ties to his wife and kids. It all gets very melodramatic and weepy (most movies in the 1930s were like that), but thanks to the stellar performances, and Gregory Ratoff’s direction, audiences left more than happy. Many will continue to claim that the original Swedish version of the story (this Intermezzo is a remake) was more powerful, but for bringing Bergman to our sunny shores, this film deserves its due. (20 September, Retroplex, 6:45PM EST)
Dean R. Koontz has consistently found himself a literary second to genuine horror maestro Stephen King. But one place where the pair of genre novelists seems to find common ground is in lame cinematic adaptations of their work. While Maine’s finest can claim more examples of bad filmmaking, Koontz’s works are also exasperatingly awful. Not even an appearance here by Ben Affleck can save this good vs. evil in a small town tripe. (20 September, Flix, 6:15PM EST)
It’s time for a little Canadian coming of age as two teenage boys chase girls and get in trouble during one memorable ‘70s sun-drenched vacation. Though the title was eventually changed to Pick-up Summer (perhaps to stress the random nudity involved), the film still feels like a routine rite of passage. So tap into your last lingering hormones and get ready to finger the flippers until the machine goes TILT! (20 September, Drive In Classics Canada, 7PM EST)
It’s the standard scare stuff – a heartbroken scientist goes mad trying to cure his wife’s brain tumor. A few dozen disturbing cranial operations later, and he’s managed to create a race of fiendish freaks. But thanks to the presence of the stellar Basil Rathbone, this TCM Underground offering promises some bold b-movie pleasures. (21 September, Turner Classic Movies, 2:15AM EST)
It’s so strange to think that this movie was made by the same man who redefined Vietnam, took on the JFK conspiracy, and supported several causes considered ‘anti-American’ by conservative commentators. For decades, Oliver Stone has been an aggressive agent provocateur, not a flag-waving jingoist. Yet here he is, the man responsible for calling into question almost every political power within the last three decades doing a nice, noble job of telling the true story of two Port Authority police officers during 9/11. In Nicholas Cage and Michael Pena, Stone found two actors capable of carrying off their scenes while buried under tons of art department rubble, and the initial scenes of the terrorist attack, all suggestion and subtle shifts in personnel and perspective, are expertly done. Towards the end, when the trapped men’s families start freaking out, the movie looses a little of its bearing, but overall, Stone taps into the national nightmare of that fateful day, and delivers a devastating drama. (08 September, Showtime, 8PM EST) 
Bryan Singer’s bloated, overdone homage to Richard Donner didn’t deserve all the geek squad accolades it received. Even a year after its release, the flaws are all too obvious. Kate Bosworth remains a poor choice for Lois Lane, and the whole Super-boy angle is underplayed to the point of implausibility. For every good thing this restart does – Brandon Routh is excellent as the superhero, and Kevin Spacey gives good Lex Luthor – Singer stumbles. (08 September, HBO, 8PM EST) 
You’d figure that after The Grudge, Sarah Michelle Gellar would try and move as far away from the J-Horror film fad as possible, less she wind up typecast. Sadly, she instead embraced the format, starring in this Asian terror knock off from British moviemaker Asif Kapadia. Unlike his first film, the feudal India themed The Warrior, this has Ju-On juice spread all over it. Fans of more subtle scares should look elsewhere for their fear factors. (08 September, Cinemax, 10PM EST) 
Though the look of this animated ordinariness is unusual (lots of odd angles and stylized characterization), we wind up with the same old CGI stumbles. Martin Lawrence and Ashton Kutcher are a bear and a mule deer, respectively, that must rally the other woodland creatures in time to prepare for the title event, and the onslaught of hunters that will follow soon thereafter. Though the humor is forced and the film forgettable, the kiddies couldn’t care less. (08 September, Starz, 9PM EST) 
Perhaps the biggest misconception about the French New Wave that swept through cinema in the ‘50s and ‘60s was that the entire movement was an attack on Hollywood and its mainstream brand of moviemaking. Nothing could be farther from the truth. Instead, all directors like Francois Truffaut and Jean-Luc Godard wanted to do was expand the possibilities of film, and the only way they could accomplish this was by blowing up the formulas and deconstructing the various elements. Then, they put them back together in ways contrary/complimentary to the works that they loved, thereby creating and commenting via a new form of expression. This, Godard’s 1960 masterpiece, is a perfect example of the stratagem. The storyline is simplistic – a young girl hooks up with a murderous criminal – but it’s the presentation that sets the new standards. With its handheld cameras, jarring jump cuts, breaking of various ‘walls’, and self-conscious rebellion, it functions as one of the artform’s most important and radical works. (12 September, Sundance Channel, 10PM EST)
Over a decade after he redefined the language of film, Jean-Luc Godard teamed up with fellow filmmaker Jean-Pierre Gorin to make this aggressively avant-garde look at relationships, politics, and the strictures of cinema. Featuring fine performances from Yves Montand and a fresh from Klute Jane Fonda, the result is supremely frustrating with sprinklings of electric genius. While not upfront about all their ideas, Godard/Gorin still get most of their point across. (09 September, Sundance Channel, 7:15PM EST)
Celebrated as a post-modern Catcher in the Rye as well as one of the first films to adopt the digital approach to filmmaking, this Burr Steers’ effort has its charms. Macaulay’s brother Kiernan Culkin does an excellent job in the lead role, and he gets good supporting turns from Bill Pullman and Susan Sarandon. While not quite on par with Salinger, this is still a smart and substantive coming of age saga. (12 September, IFC, 9PM EST)
The Yippie movement, best exemplified by Abby Hoffman, Jerry Rubin, and Tom Hayden remains a potent source of motion picture material. Sadly, nothing has successfully tapped into such subject matter, including this well intentioned biopic from documentarian Robert Greenwald. Vincent D’Onofrio does a fine job as Hoffman, and Janeane Garofalo is good as his wife, Anita. But the narrative never finds a focus. (14 September, IFC, 11:30PM EST)
Before he became the Godfather of Gore (with his classic terror triptych Blood Feast, 2000 Maniacs, and Color Me Blood Red), Herschell Gordon Lewis was the king of the nudie cutie. Working with partner and mighty monarch of the exploitation film, David F. Friedman, the former advertising employee cranked out Florida based flesh feasts dealing with subject both scandalous and silly. In this case, we have the typical little girl lost scenario. Jean is desperate for kicks (the ‘50s/’60s substitute word for illegal fun) and she ends up getting involved in drugs and nude modeling. Perhaps most notorious for Karen Black’s appearance (or lack thereof – she sued to be removed from the film) and the lack of Lewis regulars (it was his first film as a director, after all), it still stands as a slyly suggestive treat. (11 September, Drive In Classics Canada, 1AM EST)
Our main man Vincent is back again for another double dose of delirium at the hands of TCM’s Underground series. This time around, we witness a late in life insignificance of Madhouse, followed by the more successful Italian take on Richard Matheson’s I Am Legend (here called The Last Man on Earth). No matter the movie, Price was a gem. He remains a very enigmatic and elusive screen star. (14 September, Turner Classic Movies, 2AM EST)
New Zealand director Jane Campion went from cult creator to mainstream moviemaker – at least in the eyes of Western audiences – with this intriguing take on the bodice ripping romance. Holly Hunter, Sam, Neil and Harvey Keitel give brave, bravura performances in a narrative that, while arch and a tad tawdry, really gets to the heart of obsession, compassion, and loss. (10 September, Indieplex, 9PM EST)
While William Castle purists will balk at the suggestion, the remakes of his classic films have been pretty good – considering the campy and kitsch nature of the originals. This offering is not as good as 13 Ghosts (a more imaginative take on the material), but still offers enough gory thrills and unexpected chills to send more than a few shivers up and down your spine. (11 September, ThrillerMax, 11:50PM EST)
