The Dallas Movie Screening Group

This is the homepage of the Dallas Movie Screening Group. To join our mailing list you must sign up at our group page on Yahoo. You will then be connected to receive notices on how to find passes to the local screenings in the DFW area. It's up to you to pickup or sign up for passes. You can also barter, trade or just giveaway passes you don't want, need or share with other members of the group. Please read the instructions on the Yahoo page very carefully before posting. This group is closely moderated so that your mail box is not full of spam or other unnecessary mail. We appreciate everyone's consideration and cooperation.

You can use this homepage for posting comments, reviews, and other things that cannot be posted to the group. Of course spam is not allowed. Thanks!

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Sunday, September 16, 2018

A Simple Favor

In “A Simple Favor,” the reason this one works is because the characters are so likable and intriguing. Anna Kendrick is Stephanie Sommers, a mommy blogger who befriends fellow mother Blake Lively’s Emily Nelson and gets wrapped up in a whodunit of sorts. The intrigue almost occurs at the beginning, wherein the favor of picking up Nelson’s son from day care turns into a giant spectacle for everyone involved.

The most recent thing I can compare “A Simple Favor” to is writer/director Shane Black’s “Kiss Kiss Bang Bang” (2005) wherein some good old mystery concocts with some murder and death. Lead Robert Downey Junior and Val Kilmer shared some great on-screen rapport and shared some great on-screen chemistry together.

“A Simple Favor” comes from director Paul Feig, who handled directing chores n the 2015 reboot of “Ghostbusters” as well as “Spy” with Melissa McCarthy. All of that is the past, since what he has done here contains one of the better plot twists of recent memory in that they are actually surprising and noteworthy.

Forget recent entries like filmmaker David Fincher’s 2014’s “Gone Girl” or anything from Brian De Palma has tackled recently because Feig, working from a non-fiction novel by Darcy Bell and writer Jessica Shazer, “A Simple Favor” does a great job of making a gem intriguing as all get out.

What is also amusing is the politics of signing up for anything at the school. Stephanie sometimes gets into trouble for too much volunteering. The other adult parents at the school look at her not so much with evil eyes rather “what now?” glances.

As the spouse, Henry Golding of “Crazy Rich Asians” is intriguing as Stuart Townsend, a teacher who gets mixed up in all the lies orchestrated by his wife Emily and Stephanie. He looks and appears baffled by the shenanigans that are thrown into his lap.

“A Simple Favor” does more left turns than a bonky twisted pretzel. The viewer almost gets settled in, but as aforementioned, Feig chooses another direction and road to take the viewers down.

The story threads and tales are in abundance here, always veering from one change and shift in story angle to another. The one thing Emily does not like is having her picture taken in any capacity. When Stephanie snaps a picture, Emily tells her to delete it. She complies, not questioning her, but does it for the shake of their friendship.

“A Simple Favor” does what it’s supposed to do in having viewers leave with a satisfied palate and smiles galore.

Grade: A-
(Review by Ricky Miller)

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Movies Scheduled for the Week of Sept. 16 - Sept. 22

It's nice having several different movies to choose from during the week. It would be nice if they were not all on the same night!

Sept 16 - Sept 22

Mon - Sep 17

Small Foot - 2:00 pm - Angelika Dallas
Night School - 7:30 pm - AMC Northpark

Tue - Sep 18

The Oath - 7:00 pm - Angelika Dallas
The House With the Clock in the Walls - 7:00 - Angelika Plano
The House With the Clock in the Walls - 7:30 pm - Cinemark 17
Ben is Back - 7:30 pm - AMC Northpark

Wed - Sep 19

The Dawn Wall - 7:00 pm - AMC Northpark
Life Itself - 7:30 pm - Angelika Dallas

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Thursday, September 13, 2018

White Boy Rick

One thing 1984 Detroit conveys in this film is that it was horrible year for fashion. Filmed in dark tones to highlight the once booming city now on the decline with deteriorating neighborhoods, filled with unsympathetic characters who can't catch a break and more unpleasantly knowing it is all based on the true story. Directed by Yann Demange and written by Andy Weiss, and Logan and Noah Miller, it tells the unfortunate story of Richard Wershe Jr. who was given a life sentence for dealing cocaine and being an FBI informant at the age of 17.

Richie Merritt in his debut role plays White Boy Rick who at the age of 14 is asked by the FBI to make some "controlled" purchases of crack so they can obtain intel to make busts in exchange for not arresting his father. Rick Sr. (Matthew McConaughey) is a bit of a hustler selling guns from his home or the back of this car. He has big dreams of opening a video store. His older sister Dawn (Bel Powley) leaves home to move in with her no good boyfriend who beats her and gets hooked on crack. Rick's best friend Boo (RJ Cyler) is brother to the twins Johnny (Johnathan Majors) and Leo (YG) who deal in cocaine. Because of his friendship with Boo, they take him under their wing. Rick is seduced by the fancy clothes and lifestyle. With the money he's earning from the feds, he is soon buying gold chains and fancier clothes. His dad finds Rick's stash of ill gotten cash under his bed in a shoe box. Despite his trepidation the Rick Sr can't seem to stop his son.

It doesn't take long before greed takes over as alternatives in their loser lives offer no ready solutions. Rick earns his nickname by being the only white boy in the gang. The story glosses over the true life fact that high school drop out Rick was already exhibiting criminal behavior. The FBI's using him to sell cocaine to make their busts, while he pockets the profits seems disingenuous. Especially when he ultimately gets busted and then they get him to rope in bigger fish by letting him think he will get a lighter sentence. The feds using a minor to do all these drug sales and buys are most likely illegal. The real life Rick didn't get parole until 2017 when the movie was being made.

McConaughey is as committed to his role as the father who despite all his failed plans in life remains a guy who sees the glass as half full. Newcomer Richie Merritt looks remarkably like the real life Rick gives a more nuanced performance as a young man whose child like innocence is jaded by the flashy lifestyle of his friends. Bruce Dern and Piper Laurie as the grandparents who live next door offer lighthearted moments in the family dynamic. There are no heroes in this and the jumbled story doesn't really allow any real reason why we had to time travel to the 80's outside of the injustice of it all.
(Review by reesa)

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Wednesday, September 12, 2018


This revenge tale completely delivers the goods big time.

In “Peppermint,” Jennifer Garner is Riley North, is a distraught mother who returns to seek vengeance for her family whose entire family was wiped at the hands of a ruthless drug cartel five years ago. This is something that baffles me. Why do they pick five years as a significant earmark?

This tale marks actress Garner’s return to the action genre she knows all too well, following her stints on TV’s “Alias,” (2001-06) as well as turns as Elektra Natchios in the so-so “Daredevil” (2004) (Grade: C-) and the halfway decent “Elektra” (C+) in 2005. Garner was also cool in the underrated Peter Berg action-drama “The Kingdom” in 2007. Garner has a likable everywoman on screen presence.

The supporting cast all provide the right vim and vigor for their necessary roles. This includes Annie Ilonzeh as FBI agent Lisa Inman, who aids in the quest to bring Riley North in for questioning. Ilonzeh is a local girl, born in Grapevine, Tx. She has also appeared on “Arrow”as well as “Person of Interest” on newtwork TV.

Also important tom the story is John Ortiz as Detective Moises Beltran, who has a strong feeling of empathy for North’s battle with ridding evil from the world. Ortiz was great in the Oscar-winning “Silver Linings Playbook” in 2012. Ortiz shows off as a stern authoritarian figure who wants what is best for the city and its beloved residents within.

In the director’s chair for “Peppermint” is French director Pierre Morell, best known for 2008’s Liam Neeson-led “Taken.” Later, he would work with John Travolta in 2010’s “From Paris With Love” and the Sean Penn led tale with 2016’s “The Gunman.” The first in the bunch was a sheer piece of brilliance, but the latter two left a lot to be desired.

Going back to “Peppermint,” the revenge angle works because one actually sees what happens to her entire family and the entire audience is along for the ride. When she sits in front of the jury, Riley is as shocked as the audience is as the entire troupe of her families’ killers are set free. “Peppermint” does what it’s supposed to do and just provide viewers with an escape from the everyday.

I liked this movie because it is just a solid piece of riveting entertainment. Sure, it presses the buttons, but with purpose and meaning. This movie proves once again that a woman tale can deliver the goods big time. Garner shows off all the emotions, despair and animosity one takes with them in everyday life.

Also important to the storyline is “vigilante” status, since society paints vigilantes in a positive light, rather than a blight on society. That is why I liked this movie so much, because it portrays vigilantes with a purpose. I recommend this flick because it does exactly what it’’s supposed to do and just entertain and engage the audience for a brief 2-hour spell.

Grade B
(Review by Ricky Miller)

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The Predator

Reel Time with Joel and Chase

A Bloody Good Time!

Title: The Predator

Rating: Rated R for Strong Bloody Violence, Language Throughout, and Crude Sexual References

Run Time: 1hr & 47mins

Joel’s Review

*** (out of ****)

Like 1987’s Predator, this fourth film in the unlikely franchise – following the first sequel in 1990 and 2010’s Predators (both unseen by me), not to mention the two crossovers with the Alien series – works because it delivers what it promised us. Those promises are, to be fair, low-hanging fruit for anyone who might yearn for the relative simplicity of the first film, which was roughly as simple as high-concept action pictures from that era got: There was a quick introduction to the characters, a plot set-up, and a lot of gory, well-choreographed violence as the payoff.

For a movie about an alien hunting humans for sport, it worked pretty well within those simple guidelines, and The Predator works for the same reasons, though the screenplay does overextend in a couple of areas. First, there is a lot of exposition in this plot set-up, explaining the properties of the eponymous extraterrestrial, the reasons why a second, much bigger one might have shown up, and the science behind how their technology works. This is both expected and typical of the genre, but it is fun, at least, to see screenwriters Shane Black (who also directed) and Fred Dekker undercut those explanations with sarcasm.

The plot follows the Predator we have come to know, who has gone rogue and stolen a warship from its fellows in the opening moments, as it crash-lands on Earth, right in the middle of a sting operation in which McKenna (Boyd Holbrook), our protagonist, is the sniper. After the creature kills off all of McKenna’s unit, the soldier comes across its helmet and a high-tech arm band, both of which he sends off to the house where his ex-wife (played by Yvonne Strahovski) lives with their son Rory (Jacob Tremblay). Meanwhile, McKenna has been shunted off with a group of misanthropes to be “evaluated” (read: to have his memory wiped clean).

The second area in which the film overextends its welcome is in the sheer number of supporting characters who are present. There are the ones that matter, namely Casey Bracket (Olivia Munn), a scientist called in because of the potential for contact, and Traeger (a slimy, cheerfully profane Sterling K. Brown), the head of the research lab who becomes something of a human antagonist. The heroes know too much, Traeger and his men need to eliminate them for that reason, and meanwhile, neither the original Predator nor the new and improved one, which arrives to eliminate the first and track the missing cargo, really cares about the petty, human squabbles.

Then again, there are the other prisoners, each of which has an arbitrary characteristic and, if lucky, a single bit of character history: One chain-smokes and was dismissed from the military for trying to shoot his commanding officer. Another has Tourette’s and disrupts the proceedings with his tics (a “joke” that seems at odds with the film’s attitude toward Rory’s high-functioning autism, a condition that eventually becomes a plot point). Another is Irish. The remaining two are sexist creeps. Respectively, they are played by Trevante Rhodes, Thomas Jane, Alfie Allen, Keegan Michael-Key, and Augusto Aguilera, and collectively, they are mincemeat.

This means that they are, indeed, problems but also that, at the end of the day, they mean less (and, thus, have less impact on the proceedings) than the presence of the dueling Predators, who are here to undercut the interpersonal drama that arises from these characters and to be participants in sequences of expertly choreographed sequences of brutal, gory, explosive violence, which imposes itself upon the heads, limbs, and viscera of the human chattel. When the exposition comes, the quips come as quickly as the violence, with one character introducing an idea and another character, having caught on quickly, boiling the idea down to its essence with a wink and a nudge. The Predator is a bit of a mess of contradictions, but for its attitude, its performances, and the grisly carnage it promises with the title, the movie, in its way, works.
(Review by Joel Copling)

Chase’s Review

(Review by Chase Lee)

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Sunday, September 9, 2018

Movies Scheduled for the Week of Sept 9 - Sept 15

Well there are a few movies to choose from this week. Hope everyone was able to obtain the pass you wanted. If you need help, you can ask the members of the group if they have an extra they are not using. Just remember to send your requests directly to the person offering or answering you.

It seems my logins to some of those ticket sites have been asking me to change my password, then it doesn't recognize my name. Anyone else having problems?

Sept 9 - Sept 15

Mon - Sept 10

The Predator - 7:00 pm - Angelika Dallas
White Boy Rick - 7:30 pm = AMC Northpark

Tue - Sept 11

A Simple Favor - 7:30 pm - Alamo Lake Highlands
Night School - 7:30 pm - AMC Northpark

Wed - Sept 12

New Amsterdam - 7:00 pm - Studio Movie Grill Northwest Hwy
A Simple Favor - 7:00 - Cinemark 17
The Predator - 7:30 pm - AMC Mesquite

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Thursday, September 6, 2018


There's this trend of beautiful older actresses trying to break the mold of just being the dutiful girlfriend to take on action films like their male counterparts. At least Jennifer Garner has the Elecktra and Daredevil films to prove her action cred. This mindless intense film was directed by Pierre Morel French film director and cinematographer whose work include District 13, From Paris with Love and Taken. It's the kind of movie that will appeal to those who harbor secret fantasies of getting back at the bad guys. Judging from the reaction of the screening audience, there seems to be a lot.

Garner is Riley North, a typical working mother with her precious daughter and loving husband. She has a thankless job at the bank, her husband is in car maintenance, Riley and her daughter get bullied by the snobby scout mom for living on the wrong side of the boulevard. But that doesn't seem to bother Riley who lives and breathes for her family. Her happiness is shattered when a cartel gang gun down her family. Her efforts to identify the killers is show down by the judge who remands her to mental health facility, obviously having been bought out by the drug dealers. The action skips 5 years ahead near the anniversary of the tragedy. Only spotty background from all over the world is given the transformation of Riley. She is skilled in fighting, explosives, all manner of weaponry in which she single handed manages to take down all the gang members. It doesn't take long for the Police to figure out who is wreaking havoc and body count all over the city.

It would have been nice to understand where she got her training and the expenses. She lives in a van filled with guns in skid row, that for some reason has been crime free since she moved in. Her reputation has become a folk hero in the neighborhood and on social media. There is one scene where she bullies an alcoholic dad to spend time with is son. She grabs for his ID and was kind of expecting her to say "What's in yuur wallet". That aside, the action is relentless. Yet you root for her to extract justice from all who did her wrong. By then end, you can probably expect the skid row angel to be back for another story.
(Review by reesa)

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Hell hath no fury......or so we find out in abundance when Riley North (Jennifer Garner), scout mom and wife, loses her family to gang members on a mission, when out celebrating her daughter's birthday with her husband near the holidays. In an instance her life is forever changed as she recovers from her injuries and the emotional fallout. In five years time, she plots her revenge on every single soul that escaped legal vengeance. Her vigilante revenge feels palpable and any mother will understand the madness and rage. She chooses to hide out in the city's homeless area of Skid Row, becoming their protector, while living out of a van packed like an arsenal.

The story line is very predictable and while her successes are explicit and pretty unbelievable, they are no less satisfying. This is a great film if you are harboring resentments towards someone and want to imagine the gang members are your wrong doers and you are the assassin. Devoid of script and legit soundtrack, it's clear the budget was put into special effects and stunt doubles. The action is pretty great and satisfying. Not very probable but fun nonetheless in you are into that sort of smash em up, shoot em up, knife them in the eye sort of film. It will be no career saver for Jennifer Garner nor does it truly contribute to showing her "range" since it's pretty easy to be driven, angry and singularly focused. But it's a film that fills a space and serve a purpose for the niche audience that enjoys a long drawn out slaughter. It white possible it will qualify for some Razzies but consider what such a film is worth, in entertainment value.

Warning: lots of gratuitous violence. No young kids, please.
(Review by Cheryl Wurtz)

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We The Animals

Reel Time with Joel and Chase

A Surreal and Sometimes Harsh Navigation Through Childhood and Coming of Age Tale

Title: We the Animals

Rating: Rated R for Strong Sexual Content, Nudity, Language and Some Underage Drug and Alcohol Use

Run Time: 1hr & 34mins

Joel’s Review

*** (out of ****)

We the Animals has no plot. Do not take this as a criticism. It is, instead, an observation. Writer/director Jeremiah Zagar, making his narrative feature debut, wants to immerse us in the experiences of the film’s trio of children – brothers living with their parents in rural Upstate New York. The novel on which the film is based, written by Justin Torres and adapted by Zagar and co-screenwriter Dan Kitrosser, is a bildungsroman, after all. That literary style knows no established structure, so it would only make sense that the film adaptation adopts a similar attitude toward its characters.

And to be clear, these characters exist largely within their own heads. The brothers are Jonah (Evan Rosado), Joel (Josiah Gilbert), and Manny (Isaiah Kristian), and their parents are simply known to them as “Ma” (Sheila Vand) and “Paps” (Raúl Castillo). This is a series of volatile relationships, starting at the top when Paps punches Ma in the face during an argument and tries to pass it off as preparation for a visit to a dental hygienist. The detail is small but contains multitudes. In that moment, we understand how this household operates, with its violence kept secret with a series of white lies.

The film follows part of the family’s attempt to leave behind such an existence, with a series of speed bumps and one baffling reconciliation along the way. If nothing else, through the rhythms of the performances and the textures of the filmmaking, this family seems like a real one. Parents in an abusive relationship really do ebb and flow in and out of each other’s lives. After all, this man is the father of her children. Who can blame Ma for returning to Paps, even after the episode that leaves her bruised at the mouth and struggling to remember how she got in this state?

We know what the character should do, but Zagar’s film is all about current headspace, the decisions that inform the future, and the experiences that unite us. There is something elemental about that, both in the way the filmmaker strips the dramatic treatment to its bare essentials and in the way his attention to the atmosphere and landscape seems to drive the events of the movie. The performances from the child actors – two of whom (Rosado and Kristian) are newcomers altogether, with Gilbert having only two other credits to his name, both of which were released around the time of this movie – expertly mirror that formalistic tendency. All three are dependably naturalistic and unaffected.

When it comes to the parents of the piece, Castillo is quite good in a limited role as Paps, who has an anger issue and a problem with keeping a job. There’s a pitiful quality to the man that’s downright pathetic. Vand is superb as Ma, a woman who must swallow a lot of abuse and keep the peace for her children. The narrative, such as it is, eventually narrows its focus upon Jonah as he comes of age and connects to the wider world surrounding this tightknit family. A regular sojourn to a friend’s house, where an adult video channel opens a new avenue of feelings in young Jonah, is a chance for the trio to rebel.

Essentially, much of this film is truthful and honest in its portrayal of navigating childhood and the relationship from which childhood is possible in the first place. Even as the film never quite acknowledges a world outside of itself and slips into the routine of daily life, Zagar rarely slips in his focus on these characters and their worldview. We the Animals nails a very specific melding of tones – those of reverence to and rebellion from the strictures of a coming-of-age drama – and artfully deconstructs the very need to adhere to a definition of them. That is a significant achievement for such a modest, scrappy, surprisingly touching movie.
(Review by Joel Copling

Chase’s Review

(Review by Chase Lee)

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Tuesday, September 4, 2018


“Kin” has a few moments of brilliance, but as with all science fiction movies of late, it just runs out of steam somewhere along the way.
There is something very positive to say in that the brother duo of Josh and Jonathan Baker have crafted quite the intriguing tale of two brothers coming to terms with each other amidst a backdrop that knows no time or place. In looking back on each of their resumes, neither has done a stand-alone feature.

For comparisons sake, the easiest movie I can reference is Walter Hill’s little seen release of 1984’s “Streets of Fire.” It was a period wherein there is no direct reference to anything pop culture based, rather a period where taxis existed but cell phones did not.

Dennis Quaid is solid as the caring father of sons Jimmy (Jack Reynor) and Eli Sobinski (newcomer Myles Truitt). Jimmy is an ex-con trying to get back on the straight and narrow. Eli is a fourteen year old kid who finds a giant alien ray gun while looking for metal scraps to sell to buyers.

The trouble with the movie is it rests on the fact that his character perishes way too soon in the movie’s structure.

Leading the way as the antagonist of the story is James Franco as a drug dealer named Taylor Balk. I only bring this up because he’s played this kind of character before, namely the Sylvester Stallone-scripted “Homefront” with friend and colleague Jason Statham.

Eli receives a lecture from his father, Quaid’s Hal, about taking other people’s property. The fact the metal scraps came out of somebody else’s pocketbook.

Zoe Kravitz, who appeared from one of the best movies in the past decade, 2015’s “Mad Max: Fury Road” stars in “Kin” as Milly, a mistreated exotic dancer. She strikes up a friendship with both Jimmy and Eli, who are some of the last customers she will ever dance for.

Going back to the acting appearances, Reynor has been around for years, with appearances in “Transformers: The Age of Extinction,” “Free Fire,” “ 2015’s “Macbeth” and one of the most underrated movies from the past couple of years, 2016’s “Sing Street.”

Although “Kin” is not necessarily a great movie, it does something that I want more of. Along with directors such as Brad Bird, Christopher Nolan and even Guillermo Del Toro, I’m very intrigued to see what the pair tackles next.

Grade: C+
(Review by Ricky Miller)

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Operation Finale

To me personally, watching a movie is like picking out your nightly meal. You know you will be watching something, but you are not sure how it will turn out in the end.

That is why I know what I’m getting into when watching something about the Holocaust or anything related to either World War I or II. “Operation Finale” delves into the latter, wherein Oscar Isaac’s Peter Malkin must face one of the most despicable villains of World War II in Ben Kingsley’s Adolph Eichmann, one of the partial instigators of eradication of countless individuals of Jewish descent from the world.

Both Isaac and Kingsley have very strange resumes when looking back on their past work. With Isaac, it is him playing both the hero (“Star Wars: A New Hope,” “Inside Llewyn Davis”) as well as the despicable baddie (“Sucker Punch,” “Ex Machina”). The same can be said for Kingsley, who won a Best Actor Oscar for his work in director Richard Attenborough’s “Gandhi” in 1982.

Since then, Kingsley has played in a plethora of flicks, namely Steven Spielberg’s multiple Oscar-winning 1993 release of “Schindler’s List,” “Sexy Beast,” “House of Sand and Fog” and Martin Scorsese’s multiple Oscar-winning “Hugo” in 2012. His send back to sender includes duds such as “BloodRayne,” “Species,” Ray Bradbury’s “A Sound of Thunder” and last year’s abysmal “Collide.”

“Operation Finale,” however, is about bringing justice to all of those individuals who were extinguished during the war itself. Like the aforementioned “Schindler’s List,” the movie is a tough watch. Although it is graphic in spots, director Chris Weitz knows where to place the camera and set ups for the perfect lingering detail.

Nick Kroll from FX’s “The League” takes an odd career shift since he does not spout one-liners or off color commentary. Also part of the varied ensemble is Mélanie Laurent, who was also in Quentin Tarantino’s gritty WWII action-drama “Inglorious Bastards” in 2009, provides the necessary support to bounce back friendly dialogue with Isaac’s Malkin, since earlier in their lives they had a shared history.

The shifts that occur within the story are a bit hard to digest since one sees images of his sister that was lost during the war. One almost feels like they are a double-take of what actually occurred.

What was nice to see is that promises made earlier in the story are actually kept. At one point in the structure, Malkin promised Eichmann that he would see his wife again before he passed.

A solidly acted ensemble all around, “Operation Finale” is worth the full price of admission, but be warned it is a tough watch in spots.

Sure, portions of the movie are predictable, but they are just used as earmarks for the entire ensemble. As much as I hate to say it, a copy of this movie will not be going into my collection at home.

I liked it and respected it, but I think if I owned a copy it would be collecting dust just like my unopened copy of “Schindler’s List.” Both are too heartbreaking to watch again.

Grade: B-
(Review by Ricky Miller)

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Sunday, September 2, 2018

Movies Scheduled for the Week of Sept 2 - Sept 8

Hope everyone is enjoying the long weekend, if you are lucky enough to have one, As usual with holiday weeks, there's only 2 screenings coming up, both on the same day.

Looks like it's going to rain anyway...

Sept 2 - Sept 8

Wed - Sept 5

Peppermint - 7:00 pm - Angelika Dallas
The Nun - 7:00 pm - Angelika Dallas
The Nun - 7:30 pm - AMC Northpark

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