Three pretty young friends find themselves trapped by a shadowy stranger — in an ATM vestibule! — in David Brooks’ directorial debut, ATM . Get a glimpse of the single-location thriller, from the writer of Buried , in an exclusive clip and new images. Josh Peck, Alice Eve, and Brian Geraghty star in ATM as a trio of co-workers who find their late-night stop off for cash interrupted by a menacing figure who stands between them and sweet, sweet freedom. ATM debuts on March 2nd on VOD and select digital outlets (SundanceNOW, iTunes, Amazon, Xbox) before opening in theaters on April 6. Want more? Check out three new images from the film and ponder how bad things will get for our intrepid heroes in that freezing cold vestibule…
Three pretty young friends find themselves trapped by a shadowy stranger — in an ATM vestibule! — in David Brooks’ directorial debut, ATM . Get a glimpse of the single-location thriller, from the writer of Buried , in an exclusive clip and new images. Josh Peck, Alice Eve, and Brian Geraghty star in ATM as a trio of co-workers who find their late-night stop off for cash interrupted by a menacing figure who stands between them and sweet, sweet freedom. ATM debuts on March 2nd on VOD and select digital outlets (SundanceNOW, iTunes, Amazon, Xbox) before opening in theaters on April 6. Want more? Check out three new images from the film and ponder how bad things will get for our intrepid heroes in that freezing cold vestibule…
South Korea’s 2012 contender for a foreign language Oscar feels more like a war movie than a movie about the Korean war, right up until its pitilessly bleak final frames. Though the American presence in that war is peripheral to its story, Hollywood clichés pervade The Front Line , from its slate and sepia tones to its stock company of characters and dialogue that translates macho posturing into present-day slang. And yet the movie has its startling moments, moments with the spark of specificity and the bitter clarity of perspective. Those stabs of the unexpected culminate in an ending that refuses to raise even the mildest or most melancholy flag of redemption. Is it worse for history to downplay a war as pivotal as this one or for the culture to overlook it entirely? Roughly based on true events, the film gives a grunt’s eye view of a conflict that some feel has been forgotten in popular retellings of the 20th century, despite the efforts of Don Draper and co. Perhaps this under-representation drove director Jang Hun to go for broke in telling the story of the end of the Korean civil war in 1953. The genre poaching begins with the flimsy hook of a mole investigation: An officer named Kang Eun-Pyo (Shin Ha-Kyun) is sent to the front to explore the apparent assassination of the famed Alligator Company’s commander. There he finds a group of men poised on the border of insanity, and among them an old friend name Kim Soo-Hyuk (Ko Soo). Since Kang last saw him Kim has been transformed from a frightened naïf into a soulless killer — the ruthless soldier who’s too cool to die, too hot to live. A rivalry seethes between the two friends about who has seen the worst of the war. Through their philosophical divide — for Kang there are only orders, for Kim there is nothing left to obey — the film explores the worth of a single life in a balance too steep for anyone to bear. Hun takes pains to emphasize the futility of the war; again and again the men ask why they are fighting. That question might seem a little curious to anyone who has paid even the most fragmented attention to the plight of North Korea over the last sixty years. Every inch withheld from Kim Il Sung and his heirs is an inch free from despotic rule and decades of mass starvation. But The Front Line focuses on the muddled, desperate view from the ground, and the absurdist terms on which war is actually fought. The bulk of the film is set in the Aerok Hills, mountainous territory on the embattled Eastern border. North and South exchange possession of one particular hill so many times that they begin leaving notes and gifts for each other in a bunkered cubbyhole. Hun is careful not to demonize the North Korean fighters, spreading the stereotypes out evenly: The Reds get the grizzled leader with the bitchin’ facial scar and the legendary sniper who turns out to be a foxy woman. The battle scenes, like most shot in the wake of Saving Private Ryan , feel derivative when they’re not quoting that film directly. A sequence recounting a frenzied insurrection during a failed amphibious landing is horrific on its own terms, however, as is the depiction of an overwhelming assault led by the Chinese. But The Front Line , at almost two and a half hours, develops its own case of battle fatigue. By the time the “one last job” trope is deployed in the wake of an armistice, the point has been made bloodily and well that war is same everywhere — appalling — and everyone sounds the same screaming for their mother. We don’t know what they’re fighting for any better than they do, and the dialogue is too thick with treacle for archetype to clarify into character. What ultimately makes the film compelling is the extent to which it uses the shared language of cinema to telegraph the caustic feelings of a people toward their own history. The Front Line was a smash in South Korea, which is more remarkable given the absolute nihilism of its finale. What secrets lay in that response? Are they just tougher than we are, with clearer memories? Was it not worth it, after all? Though the movie’s coda is not enough to lift the film out of its genre-bound shackles, in finally rejecting formula it feels defiant in more ways than one. Follow Michelle Orange on Twitter . Follow Movieline on Twitter .
The brilliant haute spy character Modesty Blaise — created by British author Peter O’Donnell in 1963 and kept alive, through 2002, in a series of comic books and novels – has been botched on film so many times that those of us who love her have mostly given up hope. Joseph Losey first missed the target with the 1966 Modesty Blaise ; Scott Spiegel took another wobbly shot with the 2004 direct-to-video My Name Is Modesty: A Modesty Blaise Adventure . But the spirit of Modesty lives, by another name and in a different sort of story, in Stephen Soderbergh’s stylish, quietly exhilarating Haywire , which features mixed martial-arts star Gina Carano as a hit person with a smoldering, deadpan gaze and nutcracker thighs. She also, as it happens, looks killer in a cocktail dress. Carano’s character in Haywire is a shadowy freelance special-ops agent and ex-Marine named Mallory. She has the requisite action-novelist father (played by Bill Paxton), who’s half protective mother-hen, half proud papa. And somehow, as we learn in the early moments of this decidedly nonlinear picture, she has reason to be wary of the behind-the-scenes string-pullers who employ her – they’re played by Ewan McGregor (sporting a silly-wonderful Beaker haircut), Antonio Banderas (in an equally silly mountain-man beard) and Michael Douglas (in his normal Gordon Gekko ’do, which is silly enough by itself). When we first meet Mallory, she’s striding into a sleepy eatery in upstate New York. A gently charismatic maybe-thug, played by Channing Tatum, has followed her there – why? Even after an instance of classic diner violence a la Quentin Tarantino, we still don’t know, but boy, do we want to find out. Later, Mallory will dress as a sultry trophy wife and tryst, in a manner of speaking, in a Dublin hotel room with a suave-as-usual Michael Fassbender. And somewhere in between, she barks orders to Michael Angarano, as a mild-mannered citizen who comes under her spell: “You’re going to fix my arm while I drive, OK, Scott?” He hears and he obeys. It’s hard to say whether Haywire moves fast or at a pace as languorous as a cat’s stretch. It’s probably somewhere in between, and although the story begins somewhere near the end and encompasses about a half-dozen middles, the sequence of the plot details is almost beside the point. The script is by Lem Dobbs, also the writer behind what is, for my money, Soderbergh’s finest picture (and another nonlinear tall tale), The Limey . Haywire doesn’t have that picture’s chilly elegance, but then, it’s not trying for that effect. This is Soderbergh’s version of a ’60s spy caper – even the music, by David Holmes, channels the purring, ocelot sleekness of old Honey West episodes — and it’s driven by a kind of bossy energy, embodied largely by Carano. Her mighty haunches ought to get their own screen credit. Because this is the best kind of action film: One in which we’re actually granted the pleasure of watching bodies move . Haywire is low on gaudy explosions, which have become the ho-hum fallback position of most action movies – as the fireworks have gotten bigger, louder and more elaborate, they’ve come to mean almost nothing. And although there is a car crash of sorts in Haywire , it’s a wincingly amusing one that’s ingenious in its simplicity. When Soderbergh does action, less is more. He’s more interested in watching Carano, and he’s betting we will be, too: Her muscles are obviously mighty, yet they have the softness of feminine curves – Mallory is a mixed-message heroine for sure, which is part of what makes her compelling. (And the guy actors here all deserve credit for so gamely bowing to her mercy.) That Carano does all her own stunts, of course, only adds to the allure. Watching a woman being hurled against a flat-screen TV might not ordinarily be my idea of fun, but it’s clear Carano can take it, and land on her feet – like all of the violence in Haywire, the moment is brutal and laced with grim humor. In advance, I’m dismayed by the suspicion that a lot of people will come out of Haywire thinking Carano “can’t really act,” though her performance is a useful catalyst for thinking about all the qualities of doing and being that acting – whatever the hell it really is – can encompass. The character of Mallory isn’t as starkly and distinctly drawn as she would be if she’d actually been modeled on Modesty Blaise – Mallory’s personality is elusive and indistinct by design, while O’Donnell had very clear ideas about who Modesty was, where she came from, and what her values were. But Carano gives us just enough, I think, without giving the whole game away. Her Mallory, a brunette bombshell, is as cool as an oyster on ice. At one point she receives Ewan McGregor’s character in the apartment she’s recently moved into. The flat is in disarray, and she’s just come out of the shower: He hair is wet, and she’s wearing a kimono robe knotted tightly around her waist, which just makes everything above and below look that much rounder . Mallory is all woman, though she eyes McGregor’s character as if she’s considering eating him for breakfast — and, in fact, a sly bit of dialogue suggests that she already has. Elsewhere in the picture, McGregor warns another man, “You shouldn’t think of her as being a woman. That would be a mistake.” Yes and no. We’re plenty used to seeing ass-kicking heroines in the movies, from Angelina Jolie in Salt to the feisty schoolgirls of Sucker Punch to Kate Beckinsale’s Underworld latex babe. But Carano’s Mallory is something else again: Paradoxically, she’s both more purposeful and more casual than any of those action heroines – she’s never guilty of trying too hard, even when she’s got a man stuck between a rock and a hard place. That she makes it all look so effortless is part of the fun – as long as you’re not unlucky enough to be the guy with his nut in the nutcracker. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
After debuting to geek enthusiasm at Butt-Numb-a-Thon in December, Joss Whedon ‘s long-awaited Cabin in the Woods will have its official world premiere at SXSW 2012 this March, the festival announced today. Also on deck to headline the film portion of the annual Austin conference are Jonas Akerlund’s Small Apartments , Kevin MacDonald’s music documentary Marley , and Lena Dunham’s post- Tiny Furniture , Judd Apatow-produced HBO series GIRLS , which will preview its first three episodes. More details after the jump. SXSW is a festival that always loads up on an insane amount of features, docs, and panels, so this first wave of selections is just the tip of the iceberg. Of these first announced titles, Whedon’s Cabin in the Woods should play to some fanfare (and, likely, with appearances by Whedon and some of his now-famous cast) while Dunham’s GIRLS should please the SXSW crowd that made her Tiny Furniture a hit last year. And the Lubitsch! Given the plugged in, tech-dominant personality of SXSW at large, it’s nice to see a revival like this on the docket for the film festival. The first seven SXSW titles, via press release: Beauty is Embarrassing (World Premiere) Director: Neil Berkeley A funny, irreverent and insightful look into the life and times of one of America’s most important artists, Wayne White. The Cabin in the Woods (World Premiere) Director: Drew Goddard, Writers: Joss Whedon & Drew Goddard Five friends go to a remote cabin in the woods. Bad things happen. If you think you know this story, think again. From fan favorites Joss Whedon and Drew Goddard comes The Cabin in the Woods, a mind-blowing horror film that turns the genre inside out. Cast: Kristen Connolly, Fran Kranz, Anna Hutchison, Chris Hemsworth, Jesse Williams, Richard Jenkins, and Bradley Whitford CITADEL (World Premiere) Director & Writer: Ciarán Foy An agoraphobic father teams up with a renegade priest to save his daughter from the clutches of a gang of twisted feral children. Cast: Anuerin Barnard, James Cosmo, and Wumni Mosaku, Jake Wilson, Amy Shiels GIRLS (World Premiere) Director & Writer: Lena Dunham Created by and starring Lena Dunham (Tiny Furniture), the HBO show is a comic look at the assorted humiliations and rare triumphs of a group of girls in their early 20s. Cast: Lena Dunham, Allison Williams, Jemima Kirke, Zosia Mamet, Adam Driver MARLEY (North American Premiere) Director: Kevin Macdonald The definitive documentary on the life, music, and legacy of Bob Marley. The Oyster Princess (1919) with original live score by Bee vs. Moth (World Premiere) Director: Ernst Lubitsch, Writers: Hanns Kraly & Ernst Lubitsch The Oyster Princess is Ernst Lubitsch’s tart 1919 silent comedy that parodies the rich and the spoiled. Austin jazz/rock band Bee vs. Moth performs their original score live with the film for the first time. Small Apartments (World Premiere) Director: Jonas Åkerlund, Writer: Chris Millis When Franklin Franklin accidentally kills his landlord, he must hide the body; but, the wisdom of his beloved brother and the quirks of his neighbors, force him on a journey where a fortune awaits him. Cast: Matt Lucas, Billy Crystal, James Caan, Johnny Knoxville, Juno Temple, James Marsden, Dolph Lundgren, Saffron Burrows, Rosie Perez, DJ Qualls SXSW Film runs from March 9-17. More info here .
Star-making turns in ‘The Lucky One’ and ‘Argo’ make actress One to Watch in 2012. By Amy Wilkinson Taylor Schilling and Zac Efron in “The Lucky One” Photo: Warner Bros. Ryan Gosling. Rachel McAdams. Liam Hemsworth. To think, you may have never known their names if it weren’t for one of the weepy romances by Nicholas Sparks, the writer behind “The Notebook,” “The Last Song,” “Dear John” and more. And as we ring in a new year of cinema, we find yet another actress toying with the lever on Sparks’ star-making machine: Massachusetts native Taylor Schilling. Fans of NBC’s short-lived medical drama “Mercy” may recognize the 27-year-old as nurse Veronica Flanagan Callahan, though she’s since hung up her scrubs, making the transition from TV to film in earnest this year with roles in the Sparks adaptation “The Lucky One” and Ben Affleck’s “Argo.” We chatted with the actress about her breakout 2012 and whether making out underwater is as hard as it looks. MTV News : Does this year feel like a particularly big one for you? Taylor Schilling : Last year felt like a big year. This year feels just kind of like riding the wave. I did some fun work last year, so I’m excited to see how it shakes down. MTV : Has transitioning from TV to film been an intentional career move for you, or were those simply the roles that were coming your way? Schilling : When I audition, I take the parts that I get that I like. I feel so grateful that those have been these kind of amazing film roles. And I have to say that there is a big difference [between TV and film]. On a film set, for me, there’s so much more time to process what’s going on than there is on a television set. There’s more wiggle room to try things and fail and try again and get to the heart of what’s going on in the scene, which is really fun for me. It’s what I like to do. MTV : First up for you this year is “The Lucky One,” co-starring Zac Efron. Let’s cut to the obvious question: Is kissing Zac as amazing as one might imagine? Schilling : Oh my gosh. I’m not going to let you down. It’s not a bad way to make a paycheck. MTV : My favorite Nicholas Sparks movie motif is the rain-drenched makeout scene. From the trailer, it appears you and Zac share a steamy smooch under a showerhead, which is a bit of a twist. What I’m wondering, technically speaking, is if there’s any special choreography to ensure you don’t drown with all that water falling on you? Schilling : [Laughs] No, there didn’t seem to be a problem. MTV : Well, you’re clearly a talented, well-trained actress. Do you have a favorite Nicholas Sparks movie? Schilling : I love “The Notebook.” I think that’s my favorite one. It really is a classic now. I don’t know if I could say. I haven’t seen all of them yet, to be honest. I think I need to do some research before I can honestly answer that question. They’re just such nice stories. They’re so romantic. You get lost in them. It’s such a beautiful fantasy. It’s not real life. It’s this precious world where things kind of fall into place. MTV : You also have “Argo” coming out this year. What is Ben Affleck like as a director? Schilling : It was one of the easiest experiences I’ve ever had on a set, and it was one of the happiest sets I’ve ever been on. He’s incredibly smart, and he kind of made me as an actor — I never felt left behind. It’s like he knows what it’s like and he’s there with you every step of the way. It’s pretty incredible, that whole experience. MTV : I have to imagine some of that comes from his background as an actor. Schilling : Absolutely. Absolutely. He just really knew how to articulate what he wanted, and then I felt really safe and free because I think that when a director has been an actor, he really understands the vulnerability of sort of being in front of the camera and has the ability to make the set very safe. He completely understands what that process is like. So that’s rare. MTV : What challenges does your character Christine face in “Argo”? Schilling : Christine is holding down the fort while her husband [played by Affleck] is off kind of doing some big adventurous things. She’s doing the best she can to maintain her home and her relationship, to do right by her child. She’s trying to negotiate what the best plan of action is for her as a woman and to take care of her son and where her relationship fits into that. MTV : So you’ve got both Ben Affleck and Zac Efron as leading men this year. How are you going to top that? Is Brad Pitt next? Schilling : I don’t know. I don’t know where it goes from here. Brad Pitt, bring it. Check out everything we’ve got on “The Lucky One” and “Argo.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com .
We ain’t talkin’ bout no babies breastfeeding either. Here’s the details: As if that is the latest “Sakawa” in town to aid the young guys into making some quick money, the new craze in town is that almost all the young guys who visit the nite clubs with their girl friends are trying to suck their breasts openly without fear or shyness from the public. When the first picture was sent to us we thought it was something designed to seek public attention until this writer witnessed it at a popular Nite club in Accra. Every occasion comes with a different lifestyle but what we are witnessing this year is a mind boggling one which needs serious attention from the authorities of the Nite clubs these activities have been seen. The first one was seen at a Nite club around Adabraka and Asylum Down(Accra) during their session they call Francophone Nite which is believed to house many people from our neighboring French countries. What is still not clear was whether those who were engaged in the act were Ghanaians or foreigners. The most fascinating stuff about this breasts sucking craze is that the guys do not suck the “orange” (small) size breasts, but the “water melon” type which babies even admire. SMH @ “it’s not even the small orange size boobies, it’s the big watermelon boobies!” This sounds wild as hell. To all our readers in Ghana, if you see this going down, please snap a picture and email it to us at tips@bossip.com. Source More On Bossip! RihRih Gets Kushed Up And Goes Drizzy H.A.M. On Twitter Talking About Skrippers And Getting Back Into Her Freakum Bikini The Favorite Child: We Pick The Hottest Sibling Out Of Each Superstar Family Luckiest Husbands In The World: A Look At Wives Keeping It Right And Tight For Their Men EXCLUSIVE: Robin Thicke (@RobinThicke) Gets Candid About His New Album, Adding To His Family, And Paula Patton Dancing In Lingerie
GQ did a feature called the Men of the Year….Sadly I wasn’t featured because I get no respect, I no mainstream appeal, I pretty much don’t exist, I don’t even get emails, etc. To do their best to make it as non gay as possible, because if we’re reading articles abou the best men of the year, we need some tits peppered in the shit, so that it doesn’t make readers feel homo…. For the John Hamm Men of the Year profile, they got Kristen Wiig, the writer and star of Bridesmaid into some lingerie…. Not entirely hot, but I figured I’d post it anyway, even though GQ doesn’t pay me, but should. Next time there should be less lingerie and more – on all fours. Via GQ
The two married in California over the weekend, with Jonah Hill, Adam Sandler, Paul Rudd in attendance. By Jocelyn Vena Lauren Miller and Seth Rogen (file) Photo: Theo Wargo/ Getty Images A big mazel tov to Seth Rogen! While fans were hitting up the movie theaters this weekend to see his film “50/50,” Rogen was busy marrying his longtime lady love, Lauren Miller. People.com reports that a number of Rogen’s pals and former co-stars, including Jonah Hill, Adam Sandler and Paul Rudd, attended the California ceremony on Saturday. The pair married in Sonoma in a location overlooking a nearby vineyard. A female rabbi married the pair with other friends like “Knocked Up” director Judd Apatow, his actress wife Leslie Mann and “The Office” star Craig Robinson in attendance. After the pair tied the knot they reportedly drove off in a convertible to another location for the A-list reception. A source tells Usmagazine.com that “the wedding was more laughs than anything else. Every other line was a joke and the crowd couldn’t contain their laughter. It was nonstop fun!” The festivities reportedly took place over three days. Rogen’s cancer dramedy, “50/50,” co-starring Joseph Gordon-Levitt, opened on Friday and came in at a solid #4, right behind “Dolphin Tale” (#1), “Moneyball” (#2) and “The Lion King” (#3). Rogen and his writer bride met back in 2004 when he was a writer on “Da Ali G Show.” When he was on “Conan” last November he opened up about popping the question to Miller a couple months before, in September. “Literally, I felt like someone had given me like a truckload of heroin to hold onto, I felt like the feds were going to kick in my door at any second,” he said of buying the engagement ring. “I couldn’t have a conversation with my girlfriend. All I could think of was this ring. Like, ‘Don’t say ‘Lord of the Rings’! Don’t mention anything about a ring!” He joked that the proposal wasn’t perfect: He did it while she was dressing. “I didn’t picture it like this, and I know she didn’t picture it like this,” he recalled. “No little girl is like ‘It’ll happen in a closet with my [chest] out.’ ” Leave your well-wishes for the couple in the comments below!
We’re also looking forward to ‘Three Musketeers,’ ‘In Time’ and ‘Like Crazy’ this month. By Kara Warner Julianne Hough and Kenny Wormald in “Footloose” Photo: Paramount Pictures As we while away the remaining days of September, there is a lot more than Halloween candy to look forward to in the month of October. We’re talking about October movies, of course, when studios begin unveiling their heavy-hitting award contenders, as well as a few fun, fall-themed crowd-pleasers. In order of their release dates, here are a few of the films we’re most looking forward to seeing on the big screen in October: October 7 “The Ides of March” : Really, what’s not to like about this movie? You have George Clooney as director and star, alongside 2011 “it” guy Ryan Gosling in a film about corruption in politics. It’s timely, smart and in addition to featuring two handsome leading men, boasts a very talented supporting cast in Philip Seymour Hoffman, Evan Rachel Wood and Marisa Tomei. “Real Steel” : When this movie was announced, we were right there with all the naysayers, scratching our heads and wondering how a major studio would make a “robot boxing movie” worth watching. Much to our surprise, the early buzz on the film is really good, from some of the crankiest critics out there, and its selling point seems to be the father/son relationship between Hugh Jackman and newcomer Dakota Goyo. Consider us intrigued. October 14 “Footloose” : This is not a future Oscar-winner, naturally, but if you have any affection for movies with a lot of dancing and teenage angst or grew up with the Kevin Bacon-starring original, the remake of “Footloose” is a lot of fun. Lead actor Kenny Wormald has come a long way from his newbie actor days in “You Got Served” and “Center Stage: Turn It Up” to become a believable leading man. And his dancing is terrific. Serious triple-threat Julianne Hough is fun to watch as well, but pay special attention to charming scene-stealer Miles Teller as adorable country bumpkin Willard. October 21 “The Three Musketeers” : While Paul W.S. Anderson is not particularly well-known for the complexities in his storytelling, his films are always wonderfully visual and action-packed. With his retelling of Alexandre Dumas’ “The Three Musketeers,” Anderson is working with a classic story of good vs. evil, along with the added appeal of swordfights and swashbuckling. Add to that the appealing castmembers — Logan Lerman, Milla Jovovich, Orlando Bloom, Luke Evans, Matthew Macfadyen and Ray Stevenson — and you have the makings of an entertaining popcorn flick. Honorable mention : “Paranormal Activity 3,” because while this writer is a total scaredy cat and too afraid of this franchise to watch it, plenty of other filmgoers are psyched for this third installment, directed by “Catfish” helmers Henry Joost and Ariel Schulman. October 28 “In Time : Even though we would prefer this date to mark the release of a new album from Justin Timberlake, the premise of the futuristic society living with a fountain of youth is enough to get us into the theater. And in addition to seeing Timberlake in action — he runs a lot in the film — a bunch of easy-on-the-eyes actors are in the cast, including Amanda Seyfried, Olivia Wilde, Alex Pettyfer and Matt Bomer. “Like Crazy” : For those who love a weepy romance, “Like Crazy” has you covered. This year’s Sundance Grand Jury Prize winner is about college sweethearts who are torn apart by deportation and features two buzz worthy performances by Anton Yelchin and newcomer Felicity Jones . Director Drake Doremus has promised a genuine, authentic love story that has the hopeless romantics among us ready to stuff our pockets with extra tissues for opening day. Honorable mention : “The Rum Diary,” because it stars a relatively normal-looking Johnny Depp and Aaron Eckhart and is based on Hunter S. Thompson’s “lost” novel written in the early ’60s but not published until 1998. Which October movies are you most looking forward to? Let us know in the comments! For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos Shake A Leg With These ‘Footloose’ Clips Related Photos ‘Footloose’
