How to Read a Hollywood Release (Part 4)

Here we are, the final few months. Let’s get them finished, because I’m amazed my attention span has held out this long (and that this is the third time I’ve done something like this this year! The release calendar, why 2010 sucked so much, and this. God damn, those were painful to get through. But I’m glad I did ’em. Even though I couldn’t say it as well as I wanted to, there is something to say in there somewhere, and hopefully someone will pick it out and understand it).

September

September is a month in and of itself because, it’s the most genre-heavy month there is. More so than October, because October’s genres tend be more horror oriented (for Columbus Day, naturally). September has a shitload of genre films released in it, as well as your early Oscar films, and some other stuff. Let’s sift through the wreckage and find some trends.

First, you have to get your franchises out of the way. Because it’s not the summer, it’ll be quick. Resident Evil. That franchise owns September. All of them were released in September except the first one, which was released in March, and like I said, March and September are very easily interchangeable. See how it all comes around? Boom –

— erang. So, that’s your franchise. There are other ones apparently creeping up, but we won’t know that for sure until they actually shoot the sequel to Piranha 3D and put it out. Instead, now Shark Night 3D is coming out this September, which more puts September as the marketplace for sea predator attack films. Which, very nicely transitions me back to the fact that September is a huge genre month. You know, because, sea predator attack films – they’re a genre. Because they’re a very specific type of narrative. Unlike the Tyler Perry attack film. Oh yeah, Tyler Perry movies get released in September too. The Family That Preys, I Can Do Bad All By Myself (Oh yes, he certainly can. And more power to him for doing so). The trend seems to be changing, since last year was an October and there is no one slated for this year past the first one. So, anyway, back to genre.

But before I do that, I have to mention another trend that seemingly started back in 2009 and then disappeared after making a lot of money. That’s the animated kids films in September. In 2007, there were no kids films in September. 2008 only had Igor, which is not really a kids movie more than it is aimed at older kids (all creepy and Nightmare Before Frankenstein. Under 5s will be scared shitless by it). I guess they figured kids don’t go to the movies when there’s school. But then they released Cloudy with a Chance of Meatballs in 2009, made over $100 million. 9 was also released then. Which, I guess then makes September the month when they release the animated movies that are decidedly not for children. Because 9 looks great but is fucking terrifying for a 6 year old. They all get killed and shit. And because they’re animated, adults won’t go see them. So I guess they assume that’s a genre, the grown-up kids movie. Not to be confused with the summer blockbuster and the present-day comedy (with all the man childs and shit. Seriously what the fuck is with that? What has Will Ferrell done to comedy? I also blame Zoolander for this. Then again, I also blame Zoolander for the holocaust. So, there’s that)). Anyway, then 2010 had Alpha and Omega, which was low budget more than anything, and then also Legend of the Guardians, which I don’t know what the fuck that was. An animated movie about owls who fight each other, voiced by all Australians, too scary for young children, and directed by Zack Snyder. Seriously, who was gonna go see that? But now Hollywood has seemingly given up on the kids films for 2011 (which I’m sure means they will be back in a ridiculous way in 2012 and 2013 – just wait and see). The trend is still worth mentioning, I guess.

Back to genre. Again. To show you how badly Hollywood is afraid of straight genre pictures, look at how many of them are dumped into September. In 2007, you had Shoot ‘Em Up, a straight B picture with some grindhouse action elements, 3:10 to Yuma, a straight Western (with action elements, but, it’s the 21st century, we allow such diversions if it means we get westerns. I guess Appaloosa was more a straight western than this was. Though this was close), Across the Universe, musical, set to Beatles tunes (fucking amazing film), Eastern Promises, a crime film, but also kind of an Oscar film, but getting it out of the way now will help me to not remention it later. I’m lazy like that. The Kingdom is your action/war picture. Oh, Bangkok Dangerous, the Cage action movie. And Righteous Kill, that shitty cop movie with De Niro and Pacino. Those last few were all 2008. 2009 was Surrogates, sci-fi/action, Pandorum, same, though more sci-fi, Fame, musical/high school musical and shitty remake (why would they remake such a great movie s Fame?), Jennifer’s Body, whatever the fuck that was. Horror/sarcasm? Whiteout, thriller. Straight thriller. Mind you, these are all straight genre movies. Or weird, fucked up genre movies. Devil – well, the less said about that one, the better. Machete – I think that about epitomizes the September movie. And this year is Colombiana – Zoe Saldana as an assassin. It’s these types of movies that really epitomize the essence of September, the crime/thriller/action movie about assassins that sticks so closely to genre that its usually boring, or Machete. That’s genre. Oh, and apparently there’s a werewolf boy from Twilight Abduction movie coming out, that’s strangely also called Abduction. That’s the kind of shit we’re dealing with here. And there’s Dream House, about a smart house that starts killing people. And Apparition, which I assume is about ghosts. Yeah…genre.

Oh, September is also for three other major genres. Those are, first, shitty comedies/rom com. First, the rom com can count as genre, but I didn’t put it up there, so, it’s going here. Love Happens is a straight romance movie, by the numbers, with Aniston. So, it’s more a genre film than anything. Which is why it went here. And failed. The shitty comedies include, Good Luck Chuck, My Best Friend’s Girl (both Dane Cook, notice why it’s under the heading of shitty), What’s Your Number? (Anna Faris), You Again, Kristen Bell, and my #4 Unforgivable movie of 2010. Those are the shitty comedies that get released. I assume it’s because they’re meant to mix up and fill out the genres, and give people lighter films to not go to.

Also in September are the “Oscar films.” These are films that they think will/may get Oscar attention, but also aren’t sure if they will get lots of nominations. Usually September Oscar films end up getting mostly shut out save one or two nominations, if that. Examples: The Town, which is also a genre film that opened to good enough reviews to get Oscar attention (1 nomination), Wall Street: Money Never Sleeps (This was totally going for Supporting Actor and Screenplay nominations – 0 nominations), Never Let Me Go (0 nominations – nice film, though), Buried (more genre, but they thought they might squeeze a screenplay nod out of it. 0 nominations), Bright Star (1 nomination), Coco Before Chanel (1 nomination), The Duchess (1 nomination, and win. Costume Design, don’t worry. It’s just that.). Into the Wild (2 nominations), In the Valley of Elah (1 nomination). Those are the Oscar films. This year’s Oscar movie is Moneyball. About Billy Beane. Yeah, I’m not expecting Oscar out of this either.

The final category of films that gets released in September are the films that Hollywood has no idea what the fuck to do with. These are films that are also clearly of better quality than the films in April and March they have no idea what the fuck to do with. Examples of these are: The American, a hitman movie that plays more like Le Samourai than anything. No way they can release this anywhere else because who’s gonna go see a hitman movie with no action? (It won the weekend twice. Ha ha). Going the Distance and Easy A, two rom coms that are actually smart and feature good dialogue and good writing. Obviously the presence of good writing scared them because they thought the public wouldn’t actually want to see a good film. The Informant!, which is more Steven Soderbergh than anything. They never know what to do with his movies. They get released in April or September. Also, this is kind of an Oscar film. But, 0 nominations. Burn After Reading, Coen brothers, no idea what to do with a comedy that is too smart for the room. Hysterical movie, by the way. But, if it’s a Coen brothers movie, and not a guaranteed Oscar movie, they don’t know where to release it. It’s funny watching them pretend they understand them and then just sort of let it go like, “kids these days…” Oh, and there’s Darjelling, which, Wes Anderson is kind of like the Coens, in that they never know what to do with his movies. And the last one here, which has gone through no less than two title changes already, originally called I’m With Cancer, then Live With It, and is now called 50/50, is a comedy about a dude having cancer. Yeah, they know what to do with that. So, that’s September.

What have we learned? September is genre month. All those straight genre pictures come out, most of them are crap, maybe you catch a good one here or there. Hollywood isn’t expecting to make too much money with most of these. $20 million to win the weekend in September is usually enough. Recently you saw films winning the weekend (multiple times) with $17 million, $13 million. That’s all it takes in September. The stakes are low. It’s like January. The cool-down after the busy season. Post-summer, post-Oscars, two periods everyone is on vacation. Also out in September are the pre-Oscar films. It’s like spring training. Occasionally a spring training favorite will make the playoffs, but usually it’s just prognosticating. The Oscar films that come out this month almost certainly will not get nominated for a lot of Oscars. They may catch a big nomination here or there if they’re a particularly great film (The Town, In the Valley of Elah and Into the Wild got acting nominations, and Into the Wild got an Editing nomination, which, means, it just missed on a lot more nominations), but by and large, if they say it’s going for Oscars, and it’s out in September, don’t expect anything big out of it. October through December are the Oscar months, maybe the summer if it’s an indie or Pixar or something like that. But, the Oscar films out this month tend to be really good films, just unlikely to get nominated. So that’s something to look forward to in September.

October

October is easy. All you get in October are horror movies and Oscar movies. There are a few stragglers in between, but, those are essentially the ones I said can be considered April releases as well.

Getting the boring and obvious shit out of the way — horror franchises – Saw and Paranormal Activity. Nuff said. And Jackass, which somehow as always maintained a Halloween/October release date. I guess its more of a “kids get up to some shit” on Halloween thing. Also, Horror/vaguely Halloween-related films: Case 39, Let Me In (so poorly marketed), My Soul to Take, The Stepfather (a thriller that should have been in February, like Roomie), Cirque du Freak: The Vampire’s Assistant, Quarantine. October, no other month, really obvious. Moving on.

We have here the one-off October movie. No sequels, but clearly big horror movie. The Thing, remake to a beloved film. Wouldn’t get released in any other month. Zomiebland, which is both horror and comedy, and also one they knew would hit because it’s so funny. October. Not really any other place it could go, even though it probably could if they really wanted to. So, there’s that.

One trend I want to point out – Role Models was a hit in October, and now all David Wain movies are getting released here. Specifically Wanderlust, which is coming out this year. Generally they release a small handful of comedies in October. Maybe you’ll get one, possibly two a year. And if one hits, they release ones like it in October. Examples of the handful of comedies of the last five years (and this is all of them) are the two I just mentioned, The Big Year, which is this year, and has a huge ensemble cast that’s kind of impressive. Not sure what it’s about because I haven’t looked it up. Chances are this could be a limited release, in which case it doesn’t matter that it’s an October release. Red, which is the comedy/action film, which is either an April or October release. October makes sense, only because it’s actually a good film. Though I guarantee you when Red 2 comes out it’ll be in May. Also, The Invention of Lying is one of those comedies. Not a straight comedy either, which is why its October. Couples Retreat is an alleged comedy, and I’m not sure why it’s here. But whoever decided to put this summer movie in October clearly deserves a raise because the movie made more money than it ever deserved to. So I think that’s the opposite of a fuck up. Whatever that is. I rarely get to use it so I forgot what it is.

The other thing about October is that it’s a very experimental month. Possibly even more so than March or April. Look at this… they released Where the Wild Things Are, which, admittedly, doesn’t really fit in any month, Body of Lies, the Ridley Scott/Russell Crowe/Leo action movie, Max Payne, comic book movie/Mark Wahlberg, High School Musical 3 (what the fuck?), Zack and Miri Make a Porno (I know why this went there, but still, it’s worth questioning why), Nick and Nora’s Infinite Playlist, Life as We Know It, City of Ember, Law Abiding Citizen, The Three Musketeers, Footloose (which is actually taking the High School Musical and Michael Jackson: This Is It spot, since two of the three had the same director and he was attached to Footloose when it got that release date before dropping out, so, that all fits), Now, the sci-fi Logan’s Run type movie with Timberlake, and Real Steel, with Hugh Jackman and Rock ‘Em Sock ‘Em Robots. Almost all of these films either have no set place within the boring structure Hollywood has created for itself or they would more easily fit within another month. So really this is Hollywood taking a chance with its films. And I respect that immensely.

The other thing you get in October are the Oscar contenders with crossover appeal (but not big budget appeal, even though they might gross a lot. I’ll explain the difference in November and December). These include, Contagion, with its stable of stars. The Social Network, about Facebook, The Ides of March, George Clooney, Michael Clayton, same, Secretariat, horse movie with Christian overtones – understand?

Other things you see in October but not necessarily with huge releases are the straight Oscar films. Hereafter, Changeling, Conviction, An Education. You take one look at them and you go – oh yeah, they’re looking for Oscars. I guess we can include W. in this too. And definitely Amelia. Anything with Hilary Swank that isn’t a shitty genre film is shameless Oscar bait. So that’s October.

What have we learned? October is where the Oscar films start getting more blatant, but also very metered. That is, September you get the ones that won’t get nominations so they’re looking to make money, October you get the ones that might make a lot of money and get a lot of nominations, and the next two months I’ll explain soon enough. Typically the October Oscar films are more hit than miss than the September ones. They tend to be very good. The only downside to them is that you might not think they’re Oscar-worthy, which is a different argument entirely. Also, you get your standard horror movies and such, which are what they are, nothing will change that. And, you get a nice variation of films that are really all over the board. And chances are, there may be some gems in this bunch. October is actually a great month to go see films, as long as you avoid the horror movies and go for some of the #2 releases each week (that is, the films that are designed to be alternatives to the big film designed to win the weekend. Paranormal Activity was gonna win the weekend, but you could have also seen Red. If you did choose to see Red, chances are you had a much better time and saw a film that you could then tell everyone about proudly. Instead of talking about a film everyone was gonna forget in ten days).

November

November is the month where you get a lot of big budget movies alongside your oscar movies. Basically, Hollywood figures, not everyone is rushing out to go see every Oscar movie. Plus most of them are limited releases until they get the distinction of actually being nominated. Then the releases get wider in December and/or January. So, what they do is, while people like me are going to see the Oscar films, shit like Old Dogs is also out in theaters for the morons.

Obviously Oscar movies are the focus for November, because that’s what time of year it is. However, just like December too, November has Oscar movies that go in wide release. That is, ones with appeal, and ones that might also possibly contend for some Oscars based on pedigree or whatever specific factor each film has. Examples of those would be: Hugo Cabret, a kids movie, sure, but a Martin Scorsese movie. And those always shortlist for Oscars. Also, The Next Three Days. I know after the fact that doesn’t seem like an Oscar movie, but the subject matter, the fact that Paul Haggis is behind it, and the fact that Russell Crowe starred in it, means that this film could have possibly, maybe gotten some attention. It didn’t, but that doesn’t meant they didn’t think the possibility was there. Also, Love and Other Drugs. Mostly a limited release, but wikipedia tells me it got a wide. That must have been a very small wide. Like 2,200 theaters. I guess they thought it could make money and get Oscar nominations. It got neither. Which is good, because nobody baits like Ed Zwick baits. Think of it this way. If attention high school basketball game were the equivalent of campaigning for an Oscar, most films would be the crowd. They shout, cheer on their teams, what have you. Occasionally the smarter people will make funny comments, start a cheer, whatever. Those are the indies that catch on and get nominated. They’re Oscar type movies, but they come out of obscurity to do so. The cheerleaders are the studio released films. They’re the ones we know are there to be looked at, and we’re looking at them to see which ones we like. Just as we’re always like, “who’s the one holding the C? She’s hot. And what the fuck is with U? Who gave her a uniform that didn’t come with a bag to put over her head?” That’s the films the studios are pushing for Oscars. Some get noticed, some don’t. Ed Zwick is like the fucking mascot. Jumping up and down, “Look at me! Look at me! I’m dressed exactly as the team wants, I’m cheering exactly like I’m supposed to, give me attention!” Because his films are such Oscar bait it’s embarrassing. And that’s what the mascot is. Either you high five him for actually going through with this shameless display, or you stay the fuck away from him because – seriously, man, don’t you have a place to stash your dignity in that hippopotamus costume? Anyway, more Oscar hopefuls in November –

The Blind Side. I think. I don’t really know what this one was. It wasn’t on anyone’s radar until it came out. So, let’s assume they were pushing Oscar on this because, otherwise, what the fuck were they trying for with it? Australia, that was another one. They figured people would go see anything Baz did after Moulin Rouge. And it’s a sweeping epic romance. Oscar to the max. Yeah, that didn’t work out, did it? Oh, and American Gangster is another one. They knew it would hit well, but they were also hoping it could carry over into the Oscars. Which it couldn’t, because Ridley didn’t give it that Oscar touch (whatever that is. I blame that stupid action sequence at the end). Oh, and Lions for Lambs. Whew boy, that was a bad one. They thought with Tom Cruise, Robert Redford and Meryl Streep they couldn’t go wrong. Audience and Oscars. Show of hands, anyone even remember this film? Did you even know it existed? I rest my case.

Oh, and, if you pay closer attention, this is where all the heavy hitters for Oscar season come out. Here are the Oscar movies that were released in November the past five years: The King’s Speech, 127 Hours, Precious: Based on the Novel “Push” by Sapphire, The Messenger, The Young Victoria, The Road, Slumdog Millionaire, Milk and No Country for Old Men. You may have heard of some of these.

Also in November are the franchises. Harry Potter, James Bond, and Twilight, own the weekend before Thanksgiving space. And they will continue to own it until 2013. Then something else will undoubtedly come along and take it over when Bond is on a down year (or two). But these franchises have carved up that weekend the way Dark Knight carved up the July 18th weekend. Just, no one will even attempt to go there and make big money.

Also, in November, you get kids movies. This is where the kids movies go. They figure, alternative to the grown up Oscar movies, give the kids something to go see. So you get Puss in Boots, Happy Feet I & II, The Muppets (which is more of a kid and adult film, since I’m totally going to see a muppet movie – which is why it has that coveted Thanksgiving Day release. Cash fucking cow. Cha-goddamn-ching is what that is), Megamind, Tangled, The Princess and the Frog, Bee Movie, Fred Claus, Old Dogs (those last two were for young kids and retarded people), Jack and Jill (shitty Adam Sandler movie. Mostly just for retarded people), Planet 51, Madagascar II, Bolt – yeah, kids movies are big in November. Also I guess Fantastic Mr. Fox counts as one of these, but that one really is just a great movie all around. So I count that Oscar/kids/everybody wins. Enchanted too. Everybody wins. Oh, and Mr. Magorium’s Wonder Emporium. Had to mention that. Love that movie.

Then November you get the  movies they’re trying to make a one-off big profit off of. Tower Heist is supposed to be the new Rush Hour, mostly because Brett Ratner doesn’t do anything original anymore, it’s Eddie Murphy and Ben Stiller, and I’m expecting it to suck (which, only the first Rush Hour was any good). Clearly they’re going for profit. Due Date, meant to make a huge, Hangover-type profit. Unforgivable #2. Fuck this movie. Unstoppable – I guess this was an American Gangster date? Not sure why a Tony Scott/Denzel movie was released in November. It did okay financially, but, it’s weird. Skyline should have been in October. And it sucked. That’s weird. A Christmas Carol – now we’re back on track. Part kid movie, part make a lot of money, this is the whole, Christmas movie season starter, and, Bob Zemeckis movies get released in November. Beowulf was also in November. They can get released in November, make money, and stay out until Christmas. Apparently Rise of the Apes is going for money this year. Because they bumped it from June. Probably a lack of quality bump. Let’s see if they go in for reshoots and push this until 2012…

An example of a film being pushed for the better? 2012. A Movie that was gonna be out in March, and then they said, “Fuck that, we’re gonna make money if we put this in November when no blockbusters are out.” That shit worked. Good job. This is why you’re gonna see more movies like this go November soon.

That’s it. The rest of the November releases are just fill-ins that didn’t go anywhere else. The Box, Faster, Morning Glory, Burlesque, Ninja Assassin, Hitman, The Mist – no one can explain why they’re there, but they just are. Most months have a few of these.

What have we learned? If an “Oscar” movie gets a wide release in November up front (without rolling out), odds are, it sucks. The limited release Oscar movies are the best choices here. The kids movies are all over the place, and the big budget movies are probably for shit and designed to get the idiots in the seats. And, Thanksgiving Day is an amazing time to go to movies. There will be at least one good movie out.

December

Oh boy, December. The final month. Mostly here you get the usual stuff, the Oscars, the big Christmas movies…some other shit.

First, the rest of the Oscar movies. Big or small releases. Doesn’t matter. These are all qualifying for nominations. Examples, in case you really don’t understand what I’m talking about (and so I can show you just how many Oscar films really do get released in November/December): Black Swan, The Fighter, True Grit, Rabbit Hole, Blue Valentine, Up in the Air, The Lovely Bones, Invictus, A Single Man, Crazy Heart, Nine, The Wrestler, Frost/Nixon, The Reader, Doubt, Gran Torino, The Curious Case of Benjamin Button, Revolutionary Road, Defiance, Atonement, Charlie Wilson’s War, Sweeney Todd, Juno, There Will Be Blood. And Mona Lisa Smile.

This year’s token Oscar movies, that we know of so far, are The Girl with the Dragon Tattoo and the Steven Spielberg special – War Horse. And probably We Bought a Zoo, Cameron Crowe, Matt Damon. Though that might just be a Christmas Day special.

And then we get the December franchises. They love pumping franchises in December. Especially on Christmas Day. December is a gold mine for franchises. Just look: Alvin and the Chipmunks, Narnia, 1 & 3 (well, maybe not #3…they were probably fishing for a date on that, going back to the well thinking people will go because December is when the first one was released), the Fockers, those motherfuckers, National Treasure, Sherlock Holmes, and Avatar, whenever those sequels come out. They’re also attempting to put the new Mission Impossible movie in December. Mostly because Cruise has lost his drawing power and isn’t a summer guy anymore. So they think the franchise will benefit by a December release. I think somebody is making a very good decision on that one. I am Legend did also count as this, until somebody had the genius idea to change the ending at the last minute, then they couldn’t franchise it. And yet are still trying to. Amazing. They’re also now trying to start a Tintin franchise this Christmas. Let’s see how that works in America. Oh yeah, Tron.

I like being able to end paragraphs with, “Oh yeah, Tron.” And then the big kick noise from Inception plays. Like slapping the big dick down on the table. “Oh yeah – Tron.” Then — kick noise. Credits.

The flipside to the December franchise is the one they think is going to work but fails like a led zeppelin. See: Gulliver’s Travels, Yogi Bear, The Spirit (I guess…), The Golden Compass. Definitely ones that did not work. At all. K-Mart sucks.

Tagging up on this, you also get December movies the studios think are going to work, get in some of that holiday business, but go horribly, horribly wrong. Examples: The Tourist. That’s it, really. Not, not really. The James L. Brooks movies of this millennium also count – How Do You Know and Spanglish. Valkyrie is another one. Yes Man. Basically the ones they think will work based on star alone, but ones that will never work in the summer. Yeah, it happens. We let them fail and move on.

Let me pause and take a moment to reflect the movie that is Seven Pounds. Jellyfish. Okay.

Christmas Day is also the day when movies looking to make bank come out. Avatar technically counts as one of these because it really came out the week before (on the 18th. Which, we all know the significance of that date now), but essentially, that is a Christmas Day movie. Also, Marley & Me. Bedtime Stories. Shit the idiots will go see. Though Avatar was pretty good. Just not in 3D.

And that’s December.

What have we learned? December is mostly for Oscar movies. The franchises can be fun, but mostly the Oscar movies. If you’re stupid, you’ll see the mass market fare, but as we can tell, that’s for shit. Also, the great thing about the Oscar films, you can’t judge the quality until you see it. So it’s just further down the rabbit hole. Which then feeds into everything I’ve been talking about this whole time. See how that works?

… and that’s how to read a Hollywood release. You now know all the types of movies and when they come out. Based on that, and my rubric, you should now be able to accurately gauge a movie’s quality on a Hollywood (read: superficial) level when you hear about it. More information allows you to probe specific examples, but when you just can’t be bothered to know more about a film you don’t want to see, you can just use my rubric and know as much as you need to know. You’ll see how there are exceptions, there are exceptions every month. But all I did was go through all the wide releases, and at least 80% of all the movies released in the past five years fit into the scheme. So, you will more often than not find success with my rubric. Plus, you now get to more accurately judge whether or not a film will be a success. You can look at something like — oh, let’s say — Horrible Bosses — a film that I did not mention once in this series of articles — and think — it’s a comedy (allegedly. Movies are always allegedly comedies until they prove themselves funny), starring Jennifer Aniston and Jason Bateman, and co-starring Colin Farrell, Jamie Foxx, Kevin Spacey, Jason Sudekis, and Donald Sutherland. You also know it’s coming out on July 8th. What can you tell me?

You can tell me — the studio thinks it’ll make money, but not too much money, as it’s opening the same day as Zookeeper, a week after Transformers and a week before Deathly Hallows Part II. The studio thinks people will go see it based on its cast. You can tell me that it probably sucks, based on its two leads, and that the supporting cast is probably what’s keeping this film out of August where it probably belongs. And you can also tell me, for a bonus point, this movie could be unforgivable, especially if the supporting cast is ruined (and if you can manage to ruin Colin Farrell, Jamie Foxx and Donald Sutherland, you deserve to burn in hell like The Switch). And all because of these articles can you now do that.

You’re welcome.

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