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Added by VierasTalo on 1 Jan 2018 12:36
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Film Journal 2018

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June

People who added this item 0 Average listal rating (3 ratings) 3.3 IMDB Rating 7.2
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May

People who added this item 0 Average listal rating (18 ratings) 6.3 IMDB Rating 7.2
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People who added this item 6 Average listal rating (16 ratings) 7.4 IMDB Rating 7.3
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People who added this item 7 Average listal rating (25 ratings) 5.2 IMDB Rating 6.5
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People who added this item 1383 Average listal rating (1016 ratings) 7.9 IMDB Rating 8.1
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People who added this item 2 Average listal rating (3 ratings) 3.7 IMDB Rating 4.6
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People who added this item 0 Average listal rating (126 ratings) 7.4 IMDB Rating 8
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People who added this item 10 Average listal rating (6 ratings) 5.3 IMDB Rating 3.4
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People who added this item 1 Average listal rating (2 ratings) 4.5 IMDB Rating 7.3
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People who added this item 15 Average listal rating (3 ratings) 5 IMDB Rating 6.4
Mary Shelley (2017)
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People who added this item 1009 Average listal rating (558 ratings) 8.4 IMDB Rating 8.2
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People who added this item 4 Average listal rating (90 ratings) 6.8 IMDB Rating 7.1
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People who added this item 5 Average listal rating (4 ratings) 5 IMDB Rating 6.5
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April

Excellent performances that are somewhat devoid of the extremely fast, snappy dialogue Iannucci is renown for, as The Death of Stalin attempts to walk a tightrope of not only creating a political farce but also construct a believable retelling of actual events while manipulating them to create a very tragic, murder-filled tableau of the Soviet Union. It goes too far in tampering with truth in the latter part, creating a somewhat macabre visage that often feels like it's rubbing your face in the misery and wanton executions just for the sake of it. When it doesn't do that, such as most of the latter half of the film, it is very funny.
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People who added this item 169 Average listal rating (290 ratings) 5.5 IMDB Rating 6.7
I don't like Zack Snyder movies.

Even I can see this movie needs him.

I don't know and certainly don't care about how it came to this. Whether it was this before Whedon took the reigns after an unfortunate tragedy or not. I care about what we have.

And what we have, people, is a hot mess. But it isn't too hot. No, this isn't a mess you fry an egg on top off in the desert. This is the warmth of milk you forgot to put to the fridge and has now been sitting on a table for eight hours, six of it in the sun. It's an uncomfortable, somewhat gross warmth. Touching it just feels wrong. Yet, it's still milk. The most boring sustenance one could have. It's the "image most people have of Superman" of nutrients.

And mostly it's because this is just such a ridiculously by-the-numbers boring action movie. The plot is basically just a western on a larger scale. A bad guy comes to town to mess it up, the good guys team up and fight the bad guy. Little attention is given to said bad guy, but the team has all sorts of problems! One dude doesn't want to lead (because he's angsty which is always a fun trait for the character we spend most of a supposedly-fun superhero movie with), one lady doesn't want to be there (even though after her film being the only good movie in this entire franchise she's the single person we would absolutely want to be there), two dudes are there to make jokes (which are not funny because they're all old jokes or obvious first drafts), and one dude knows everything (which is ironic since even after this film we know basically nothing about him). Then they have to go to another village to recruit the most reclusive of the ronin, a dead one, and then they can go save the day with his reluctant leadership (because a deus ex machina totally isn't that if you introduce it in a prior scene, right).

Nowhere is the uninspired, utterly devoid-of-original-thought nature of Justice League more visible than when you look at it. It's a Joss Whedon movie so it's all image-counterimage (with one or the other often being a shot featuring Gal Gadot's buttocks because Whedon is a creep) except when action occurs when everything is shot so we see the very tip of the characters heads and just below their knees at all times. Stefan Sonnenfeld, the man who colored most Zack Snyder films, is credited as the colorist here, but you would never believe it. Every scene in Justice League looks as flat as most scenes in The Avengers, shot in a pale sunlight that casts everyone in an unflattering light. The Gotham-scenes are the only parts where it looks somewhat textured and that's only because they're the only parts in the entire movie where it's dark.

With a film this boring to look at, this boring to listen to, and this boring to experience, even I, a person who could literally not give less of a shit about the fate of any mass-conglomerates hit franchise making money or being succesful, craves for what could have been under better circumstance.
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One star on top of the one it actually "deserves" due to a completely off-handed, surprisingly well thought out monologue about the subtext of the last third of Maniac Cop 2.
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If you're casting Jason Clarke and Helen Mirren into your haunted house movie, I get making it a wordy one. I just really wish any of those words carried weight. Winchester is a movie obsessed with discussing death and our obsessions carrying over to whatever ethereal plane it believes we inhabit, but it's also a film made by the Spierig brothers who make modern ozploitation movies about zombies and vampires. It has less in common with films like The Innocents and more with their own recent Saw-sequel, in that this too fails to deliver on spooks and instead contains plenty of goofs, all showcased in deadpan. Unlike Jigsaw where one could take it in jest due to the concept being ridiculous, Winchester is decidedly not that. As such, it's a failure. I'm still giving it a point for going there, though. It's a movie with ambitions and the talented cast does what they can do salvage it. An impossible task, I'm afraid.
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People who added this item 276 Average listal rating (168 ratings) 6.6 IMDB Rating 5.9
Still the best.
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They did a good job

at turning a beloved children's character into an edgelord ranting against PC culture.

One star for everything that happened in this movie that didn't feature CGI animals because Domhnall Gleeson and Rose Byrne being a cute couple is great.
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People who added this item 15 Average listal rating (5 ratings) 7.6 IMDB Rating 7.4
Invasión (1969)
Hugo Santiago's Argentinian fever dream is about trying to overcome the titular invasion of... not exactly foreigners, but people who aren't from around here, so better keep them out, see? Someone with an intimate understanding of the country's climate might have a better understanding of the specific application of the allegory in that context, but it seems somewhat universal. It makes perfect sense that the leader of the resistance preventing these people from coming over is an old, cat-loving man.

Everybody knows the struggle is over before it begins, but yet they struggle, ultimately risking dozens of lives and homes for no particular reason. It's a true fight against the inevitable as three men look over a cliff to see dozens of cars loaded with invaders ready to overtake the hill. If Invasión is notable for one thing, it's one of the finest musical performances on film, as one of our doomed defenders sings of their upcoming doom, intercut with scenes of other defenders doing what they do, preparing for their own inevitable dooms. Santiago portrays all these men as aware of not only their circumstance but also of what they're leaving behind, and he explores these ideas just enough to captivate your imagination as to why these people deem this pointless struggle worthy of their sacrifice. Because of this, Invasión is fascinating, downright hypnotic.
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If you get past the opening where a rich white lady rides a fucking tiger or some shit to an Indian square where a dude in blackface is telling a story in a fucking horrible accent you get to some parts that don't include blackface and are great because blackface in technicolor is the worst use of technicolor.

Seriously, a good way to judge whether the scene you are seeing is good or not is by the amount of blackface. If there isn't, it means that there's either Sabu or animals on screen, or in the best case, both, or in an even better case, Sabu and a weird 1940s puppet rendition of what some animal could theoretically look like, and it's great. Like, seriously, just cut the framework and all other people from this movie, make it an adaptation of that first Jungle Book story, and it's the best adaptation of anything from that book. The Technicolor is lit AF and Sabu is charismatic enough to carry it. And the actual animals in the shots look great even though I can imagine the amount of wounds from aggressive whipping on their backsides in a heartbeat.
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A softcore movie with a few decent sex jokes. That's really all there is to this.
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A fascinating western where characters mostly do battle with the broken down film they've been burnt onto rather than each other. It goes through just about all the gags you could in either westerns or meta jokes about celluloid in the time-span of six minutes.
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People who added this item 44 Average listal rating (41 ratings) 4.6 IMDB Rating 6.1
Mickey Mouse finds out what it's like to be an American lad in the 60s.
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People who added this item 9 Average listal rating (6 ratings) 4.5 IMDB Rating 6.6
Usually it's a good thing when a film lives up to it's title, but after watching Andy Warhol's Bad, I can confidently say there should be one less of those types of films in the world.
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There's a scene in Assault on the Pay Train where a group of reporters flood a room to take pictures of a deceased robber to put on the front pages of their newspapers. When you think of this film in a modern context, it's incredible. No newspaper in Brazil would ever print the dead body of a poverty-struck robber in today's climate. They've grown tired of the bodies. No one wants to see it. But a mere 50 years ago it was sensational. At it's heart this is a French thriller in the vein of Melville and Dassin, though the former only made his most notable capers after this one.

But where this one shines is truly the characters and the milieu. Favelas are depicted as a place of warmth and companionship, but only for those inside closely-knit circles formed of blood and promises. When the latter is erased the former is shed. You can speculate that, if the portrayal here is accurate to the time, the escalation from this point of measly train robberies to modern cartels isn't too out of the question. The same bonds bind both parties, though the methods, crimes and punishments have grown more severe. What is best shown though, as I already noted, is the ruthless media. In the end, they ransack a home, destroying it completely before the eyes of the widowed mother who lives there with her children, until she is forced to reveal her secrets and walk out, emotionally gone but forcibly physically present to comfort her children. It's very powerful and truly sad.
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People who added this item 11 Average listal rating (7 ratings) 6.6 IMDB Rating 6.8
A thoroughly uninspired ordeal with a hell of a grand opening, featuring a Conrad Veidt -magic show in a majestic theater, that soon slows down into your typical silent love triangle with the old, accomplished and respected, fatherly husband -type contesting with a young hotshot over the same young, dashing lady. Veidt is the highlight as he chews the scenery to no end, but it's that lack of an end that makes it feel bad. You can probably see where this movie goes very quickly after it establishes it's premise, and it doesn't give you much on the way. Save for a few scenes with hypnosis. Which isn't as good a gimmick for storytelling as the film would have you believe.
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People who added this item 7 Average listal rating (7 ratings) 7.6 IMDB Rating 7.6
Cinema verite applied to a couple with a dog and a kid. Two grown-ups who have the same personality types and ticks. Just so happens they're both very stubborn and somewhat antipathic as people. They don't make a good couple. But when you go and you fall in love you wind up in one of those traps. The central question this film raises by existing is whether these two being on camera for several weeks is exacerbating their behavior or not. I would argue the more profound question is whether that camera should be there in the first place. Cinema verite can be a terrific branch of filmmaking but here it's being applied like we were peeping toms. Which we are, watching this film. It's just not something I particularly enjoy. Especially when I think that the process of creating that experience for me brought harm upon a couple and their kid. Even physical, in the case of the wife. The sharpness of the depiction here doesn't make up for it. It's not worth it.
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Batshit insanity starring Tetsuro Tanba as a man who can only speak the truth – about the titular prophecies of Nostradamus, all of which come true in 1999 as mutant bats take to the air, giant slugs rain down from the sky, offensive cannibal stereotypes of all the people in New Guinea attack, the Fukushima power plant gets oblitirated in scenes that ensure this film will never be released again officially, teens commit suicide in a variety of creative ways and all the cars of Tokyo explode in a beautiful daisy-chain of carnage. Possibly the best disaster film of all time and certainly the most stupid, which is a tough title to take away from Armageddon.

That being said though, this, much like Armageddon, is a very straight-faced production, never really facing it's own ludicrous nature. However, unlike Armageddon, The Prophecies of Nostradamus actually carries a pretty good, even more relevant today -message about climate change. If it wasn't coated in hyperbole and the usage for Nostradamus as a framework, it'd be grim as hell and still topical.
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People who added this item 39 Average listal rating (23 ratings) 6.9 IMDB Rating 7.4
72 minutes of pretty imagery of architecture. It isn't my thing. That's all I can really say about it.
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A smart and smartly composed film with dual narratives colliding by the end, with both supporting one another. Either alone would be too depressing or too much of funny bits that wouldn't work as a film. Through this structure it avoids the most traditional narrative trappings of a Kaurismäki-film, and it's also a really positive one, save for that whole part about all these Finnish characters being terrible racists more or less. But at least they're accepting racists. Uh. On the bright side the movie is mostly just making fun of them, and the director's general tendencies in filmmaking. It's pretty darn good.
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Turns out making a movie on cocaine, then editing that movie on cocaine, then deciding to make an entirely different type of movie, but not being able to re-shoot anything, but instead just edit it again, still on cocaine, doesn't really turn out the best film. It's somewhat hypnotic despite itself, but the whole really drags down after the initial 45 minutes or so as the fudged narrative begins to take over. There are a lot of neat ideas and visuals here, but it's just such a visionless mess. If Hopper would've had a straight-up vision from the start I could like it quite a lot probably!
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A rather typical Belgian absurdist thriller that owes a lot to French new wave. The hamfisted climax delivers the vast majority of the film's ideological content in long monologues that constitute too little too late, and before that it's mostly about following our lead, a timid man who can't say no, as he proceeds to make all manner of bad choices due to his inability to decline a friendly offer. It's at it's best when it leans on this comedic side, but does so far too little. Thankfully the score and visuals are all around pretty, and carry the otherwise dull experience to an extent.
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People who added this item 4 Average listal rating (3 ratings) 7.3 IMDB Rating 7.1
What we gain from films like The Bosom Friend, Uldrich Seidl's deep dive into the life of a man who enjoys warm, cuddly bosoms, inner thighs and buttocks, is what values the film for me. It is undoubtedly capturing something very, very human. In showcasing grotesque scenes of the man crawling naked on the floor into his bed sheets, face first as he often describes how he would like to dive into any ample bosom, he creates a depraved experience. A film of staring into something I bet no one watching it will approve of, a situation too far-gone to be remedied with the means modern western society provides.

I don't think there is much to be gained from this. Seidl is skilled in filming and editing these scenes, and creating a cohesive picture of what might have created this man who abuses his mother on a mental level daily through his actions, born from long-standing mental issues of his own. The scenes don't really mean much, though. And that's an issue. What you walk away from The Bosom Friend with are topics, points of discussion to be had with people. Is watching human depravity unfold before your eyes worth it for cultured, civilized coffee table conversations? I really don't think so. It's sort of the epitome of social pornography, but it is very well made at that. Perhaps someone out there gets something more out of watching a shockingly point-to-point real-life Freudian stereotype. I didn't.
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People who added this item 185 Average listal rating (120 ratings) 6.5 IMDB Rating 6.6
The script for The Entity has a lot of high points. It deals with post-assault shame and societal norms around the subject pretty well for a solid 40 minutes before becoming a much sillier, albeit still engrossing story of catching a ghost. The problem is though, that even though the constant rape in the film is well-needed to discuss the themes the film so desperately wants to tackle, putting in as much of it as there is (what, five "big" scenes of it perpetrated on one character?) makes the script practically unfilmable without making it feel way too sleazy. Furie is a very good filmmaker and he fails at overcoming this insurmountable obstacle.
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People who added this item 12 Average listal rating (10 ratings) 6.9 IMDB Rating 7.2
Sirene (1968)
A fun enough animation about the hardships of being a fisherman with a heart of gold. The turns the animation takes throughout as characters warp into more characters carry the whole, as the narrative is a far cry from engrossing. Based on this and Harpya I'd say Servais maybe has a thing for body horror -esque femme fatales, though.
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People who added this item 70 Average listal rating (47 ratings) 6.8 IMDB Rating 6.8
I kind of hate caleidoscopic imagery even though it fits with the theme of mechanics and constructs visible here, ergo me not entirely falling head-over-heels in love with this wonderful short. The thing about short films is that they're a package: A title, images, sound. And that title is very relevant in short films. It sets all manner of expectations and due to the length of the film in question, those expectations will probably shadow you throughout your entire viewing experience.

As such, for Ballet Mécanique, what you expect is what you initially get; Music set to moving mechanical pieces or metallic textures. Then we begin seeing humans, rather complex in their mechanisms. But furthermore, they're women putting on make-up. You can extrapolate from this set-up to a ridiculous degree: Are humans mechanical, are beauty standards mechanical, is sexualization such et al. It's a real cool customer of a showcase of the power of the short film.
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People who added this item 10 Average listal rating (13 ratings) 6.7 IMDB Rating 6.8
Oh, wait, let me put on my tinfoil hat for this one.

OK, so.

Ain't it funny how all those who seem to be a threat to this one guy end up dying? Maybe he shot them all while dressed as a medieval knight. Who knows!
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Totally fine, sleazy neo-noir in the deep south. Billy Bob is a piece of shit, Bill Paxton is a yokel with a heart of gold, Earl Billings and Jim Metzler are arrogant city cops. It has all the makings of being better than it ends up being (eg. it's brutal and looks great) but gets dragged down by a subplot love story. The ending is pretty good and surprising in that "whoa those people didn't die?!" way the best movies about everyone probably dying in the end are.
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People who added this item 12 Average listal rating (12 ratings) 6.8 IMDB Rating 7.2
Swimmer (2012)
A beautiful short about what Britain is all about, showcased through footage of a lad swimming, hearing clips from old British movies and old British music. It's all very pretty and fun, but a single viewing didn't open me up to any particular revelations about the content, which I feel is a shame. When re-framing existing material in this manner it should open up new avenues of thinking about it. It just didn't hit me that way.
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A Shakespearean gothic horror severely lacking in spooks. It makes several attempts at being titillating but if you want to see all of them just watch the trailer. The camerawork is occasionally inspired, but even compared to similar films of the time it just doesn't have what it takes.
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Jörn Donner, Pekka Lehto and Pirjo Honkasalo wax nostalgic about Helsinki in the 80s. Turns out it's a giant man-made prison full of lost souls who will die sad, lonely deaths. It's a very funny movie.
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People who added this item 25 Average listal rating (14 ratings) 7.6 IMDB Rating 7.6
Tetsuro Tanba and Kensaku Morita try to find any excuse to go drinking in the countryside. A lot of the nostalgic splendor clearly made to appease any country rubes in the audience is entirely lost on western audiences like me, so the first 90 minutes of the film featuring nothing but very boring procedural police work taking place across Japan is a complete wash. The last hour, featuring a great soundtrack and gorgeous Technicolor scenery can't be blamed for being too little too late, but it is too late to save the film. But it has to be the first hour-long climax I've ever seen to a film and sure is a ballsy way to end it.
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There is some deal to enjoy in Three Billboards, but whenever you find yourself enjoying it, it's almost bound to shoot itself in the foot afterwards. It's a film equally bullheaded as it is lax. Hard as it is soft. It's a centrist view of the world in a world that currently really, really doesn't appreciate the stance. I don't know if I appreciate the stance either, really. But there is value within it. Three Billboards often feels less like a movie than a catalyst for it's audience to showcase how they feel. And boy howdy does it do that real well as the gazillion think pieces about it show.
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SO UH. Last year at Listal. As ya'll can probably tell this isn't exactly the #1 site for movie aficianados but hey, you stick with what you can get. In 2011. Now, though? There are actual alternatives. So ya'll can catch me starting 2019 from Letterboxd since I finally imported all my ratings. For 2018 I'll be putting up stuff there as well as here. Here's a link: letterboxd.com/vierastalo/

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Comments

Posted: 5 months, 2 weeks ago at Jan 2 15:49
Tämä saa olla ainakin itselleni viimeinen vuosi kun täytän katseltuja leffoja tänne sivulle, enkä usko olevani ainoa?
Posted: 5 months, 2 weeks ago at Jan 2 19:07
Siirtyisin Letterboxdiin jos jaksaisin importata katselut sinne. Yritin joskus mutta en jaksanut kikkailla riittävän kauan.
Posted: 5 months ago at Jan 15 13:36
Mutta mitä tapahtui Pikku Kaupungin Pormestarille?
Posted: 5 months ago at Jan 15 13:58
Pikku Kau Pung In Por Mes Tarille ei kuulu hyvää
Posted: 5 months ago at Jan 15 14:03
Hitto.
Posted: 5 months ago at Jan 15 17:33
Voitais järjestää eduskuntatalon edessä mielenosoitus, jossa vaaditaan että pikkukaupungin pormestari pitää saada jälleen kuntoon.
Posted: 4 months ago at Feb 12 18:05
Musta pantteri on hyvä karkkipussi.

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