Ugh...
I can't believe I broke my foot the night before I was gonna do this big 'song and dance'
number for Movie Night's 200th episode... and now all I can do is... hang out in my...
apartment... and spy on all my old episodes.
Is that the pilot?
"When Steven Seagal climbs himself out of the meat-locker and starts killing people
with knives, you're thinking to yourself, 'Alright... alright maybe.
He's a cook.
Go make some muffins!'"
Oh!
Thank goodness I got marginally more attractive since then.
And what's that?
Season two?
"I scored it a nine."
Jesus!
Why am I standing so close to the camera?
Take a few steps back, JP.
What else we got?
Let me see what I can get with the binoculars.
"... when it was originally released in 2004".
Huh?
What's that episode have 60 million views?
I don't...
oh yeah...
I remember now!
"... Zoltar says 'make your wish'"
Is that my review of "Big"?
"I wish the creator of 'Family Guy' would make a live action film."
That was the first time I did one of those intro-sketches! ... why'd it take me four
years to get creative?
Is that a bird... or a plane?
Oh, no!
It's the time I played Superman!
Ah... good episode.
"Get down!"
Sounds like gun-fire!
I should get my camera and document this!
"I repeat, we have a shooter on the roof!"
Oh yeah!
It's that time I saved Wesley Snipes from the tax collectors.
"Get clear Wesley, I'll cover you!
You can't make Blade IV if you're dead!"
... and right next door...
"Ride or die, remember?"
... when I raced Dom Toretto in my Ford Fiesta!
"... too soon?"
"... we will not vanish without a snide tweet!"
Sounds like someone important's making a speech.
"We're going to criticize!
Today we review... both 'Independence Days'!"
Yeah.
I'd fight aliens for that guy.
Man, who knew clip-show voyeurism could be so much fun?
I should do this every one hundred episodes... because this is Movie Night!
Hello, and welcome to the 200th episode Movie Night - I'm your host, Jonathan Paula.
For the hundredth episode of this show, I reviewed some of the worst movies of all time...
so for tonight's special milestone, I decided to look at some of the best; by focusing on
prolific English director Sir Alfred Hitchcock.
Responsible for some of the most iconic films of the 20th century, and ranked by the Daily
Telegraph as Britain's greatest filmmaker - "The Master Of Suspense" pioneered the thriller
genre throughout his six-decade career.
So tonight, we'll look at seven of his most popular films - starting, as always with the
oldest entry, "Notorious".
Love, Nazis, and espionage - what more could you want?
Released in the wake of the second World War in the fall of 1946, this $1 million dollar
film-noir scored $23 million in profit.
The original screenplay by Ben Hecht is not only dripping with style, drama, and romantic
entanglements - it also scored an Academy Award nomination.
A women is forced out of her comfort zone when she agrees to spy on a group of South
American Nazis... by rekindling an old relationship.
Hollywood mega-stars Ingrid Bergman and Cary Grant play the star-crossed lovers; the former
a reluctant accomplice for the allies, and the latter is her scorned agency contact.
Defending her abilities as a spy, by highlighting her promiscuity, Grant reminds his CIA colleagues,
"[She] is first, last, and always... not a lady."
The difficult situation they find themselves in naturally lends itself to plenty of dramatic
tension and dangerous liaisons.
Like when they deliberately make out for minutes to avoid tipping their nefarious actions to
Bergman's on-looking Nazi prop-husband, played by Claude Rains in an Oscar-nominated role.
It's a particularly intimate scene, especially considering the Production Code for that era
prohibited kisses lasting long than three seconds... something director Alfred Hitchcock
got around with cleverly timed interruptions and reaction shots.
The clean 4:3 black and white frame shows off a number of impressive shots, like a two-story
crane move that ends on an extreme close-up of the scene's MacGuffin - the key to the
wine cellar.
We take complicated maneuvers like this for granted today, but 70 years ago, it required
quite a bit of technical artistry to pull off.
The cat-and-mouse mind games that follow prove why Hitchock really was the "Master Of Suspense"
- as the simple location of a key, or the dwindling number of wine bottles in an ice
box illicit real tension and anxiety.
The editing is solid as well, like a scene when Ingrid realizes she might have been poisoned
- each player performing with emotional duality as the camera deftly cuts between them.
Thematically, the remains focused on duplicity, love, and trust - which are blended together
in an engrossing 101-minute cocktail.
"Notorious" is carefully structured romance with compelling chemistry and noir-drama.
I think it's a GREAT film.
Next up tonight, "Dial M For Murder".
How fast can you spin a lie?
This film-noir crime thriller from acclaimed auteur Alfred Hitchcock was the first of two
high-profile releases for the director in 1954.
The PG-rated film grossed over four times its modest $1.4 million dollar budget.
Based on Frederick Knott's successful stage play, an ex-tennis pro in London attempts
to have his adulterous wife killed... but when his elaborate plot doesn't go according
to plan, he's forced to improvise.
Ray Milland stars as the scheming and scored husband, who invites an old college friend,
Anthony Dawson, to his flat under false pretenses.
With a dispassionate demeanor and unchanging inflection, he lays out a long yarn about
his wife's extra martial affairs.
Throughout this compelling monologue, the camera remains fixed on him as he moves about
the one-room set.
But as soon as he declares his intention to have his wife killed, the scene abruptly cuts
back to his guests' shocked reaction.
With these telling glances, and careful blocking to illustrate which player is the dominant
speaker - this entire scene is simple stagecraft, in its purest form.
You can't help but listen intently as both actors effortlessly voice their ideas and
hesitations concerning the titular plot.
For nearly thirty minutes, "Dial M For Murder" is nothing more than two guys politely conversing
in a garden-level apartment; but it's incredible how dramatic and tense this sequence is.
The impeccably gorgeous Grace Kelley portrays the cheating wife, with Robert Cummings and
John Williams playing her lover and police inspector, respectively.
Given the geographical confines of the story, and the limited set of players - each actor
pulls off the verbose script with determined performances.
When discussing the intricacies of a hypothetical murder for one of his detective novels, Cummings
inadvertently previews the entire film when he remarks.
"In stories things usually turn out the way the author wants them to; and in real life
they don't...
always."
The one-hour and forty-five minute feature is ultimately a story about how even the most
well-crafted and carefully constructed lies can unravel with the smallest of details.
Which happens to include several major developments that rely on separate people owning identical
looking loose keys and raincoats.
A convenient, if improbable storytelling device.
During the more dramatic moments, Dimitri Tiomkin's score utilizes slow and deep notes
for a moody and unsettling atmosphere.
For those looking for slightly more excitement though, a modern remake starring Michael Douglas
and Gwyneth Paltrow titled, "A Perfect Murder" is pretty entertaining as well.
But for old-fashioned drama, "Dial M For Murder" is a quintessential stage thriller with that'll
keep you on edge - and an AWESOME movie.
Now, a quick word from tonight's sponsor.
A couple months back, the tech company Azulle reached out to me, and asked me to review
their new MiniPC stick, the "Access Plus".
Grateful for the opportunity, and eager to play with a new gadgets, I gladly agreed,
and gave the product a thorough review on an episode of "The World According To Jon".
Tiny, fanless, device functions as a fully-featured PC with three USB connections, and even Ethernet
porn.
I found myself using it more as a media center, as it's more versatile and reliable than the
set-top boxes I was using before.
In short; I didn't want to send it back.
So, we agreed that if I talked about it here on the Jogwheel channel, they'd let me keep
it.
And so, here we are.
That's about the strongest endorsement I can make.
The best part is, it retails for only $140, so check the link below if you'd like to buy
the "Access Plus" yourself!
Back to the reviews, let's discuss "Rear Window".
An anxious experience that invites participation.
Based on a short story by Cornell Woolrich, this mystery thriller by director Alfred Hitchcock
earned 36-times its $1 million dollar budget, scored four Academy Award nominations, and
is widely regarded as one of the best movies ever made.
But even after seeing it twice, I remain unconvinced of its greatness.
One of Hitchock's trademarks was his frequent use of point-of-view camera movement, a technique
which forced the audience to engage in a form of voyeurism.
You saw what his characters saw, even if it wasn't always comfortable.
And there's no purer form of first-person-voyeurism than in this 1954 motion picture.
Watching someone - without their awareness - can feel taboo, but it's also intrinsically
fascinating.
They don't necessarily have to be engaging in sexual or explicit activities, but it certainly
makes things more interesting.
I'm reminded of a particularly memorable occurrence while I was attending college in Boston; when
an athletic mid-30s female in the apartment across the street began paddling her pink
canoe in full view of our entire floor.
Surely she knew people would see her, right?
With the lights on, shades open, and mere feet from a college dormitory?
It felt like a scene out of a raunchy teen-comedy... everyone gathered around the windows and cheering
her on.
Were we invading her privacy by watching, or was she enjoying her public display of
self-affection?
At what point does shameful voyeurism become acceptable entertainment?
And when might it become a civic obligation?
"Rear Window" attempts to examine both of these themes by way of a relatable, if lethargic
story.
Jimmy Stewart stars as a wheelchair-confined photographer, who spies on his neighbors from
his apartment window and becomes convinced one of them has committed murder.
And although every scene he witnesses seems sinister and dangerous, the script is quick
to provide alternate explanations, as if to discredit itself, and play Stewart off as
a 'boy who cried wolf'.
Like when police detective Wendell Corey remarks, "People do a lot of things in private they
couldn't possibly explain in public."
Unfortunately, "Rear Window" never really does anything with this nagging counter-suspicion.
Those waiting for a twist or reveal... will be disappointed that the plot concludes without
either.
Mixing concern with exposition, the dialogue functions as a sort of running commentary
for the picture, with Grace Kelly featured as the dutiful (and beautiful) girlfriend
- who serves as Stewart's willing accomplice.
When she's confronted by the suspected-murderer while on a fact-finding visit to his flat,
the audience feels just as helpless as the laid-up protagonist.
Filmed in bright technicolor, the 112-minute film makes excellent use of its confined location.
Remarkably, the camera never leaves Stewart's apartment; but with a multitude of angles,
focal lengths, and color-changes, Hitchcock keeps things from becoming repetitive or claustrophobic.
Which is even more impressive considering the movie doesn't have a score - all we hear
are the diegetic sounds, noises, and music coming from this crowded Greenwich Village
complex.
The building themselves of course were all part of a massive set specially built inside
the Paramount studio - which included at least 1,000 arc lights to mimic sunshine, functioning
plumbing, and six-stories of fully furnished fake-apartments.
Perhaps "Rear Window's" most effective accomplishment is how it imprints Stewart's uncomfortable
emotions onto the viewer.
What begins with guilt soon transforms to anxiety and fear, and later, obligation and
heroism.
Despite its decidedly uncomplicated and convenient developments, "Rear Window" is a surprisingly
enthralling experience - and a COOL movie.
My fourth review tonight is for "Vertigo".
One of this director's best is honestly one of my least favorites.
This G-rated picture from Alfred Hitchcock was released nationwide on May 9, 1958 - where
it grossed $14 million at the box office.
The 128-minute psychological thriller film was produced on a $2.5 million budget, and
stars James Stewart in his fourth and final Hitchcock production.
Jimmy is, well... serviceable in the lead role.
The versatile actor and his English director had grown a close report over the years, and
yet I can't help but feel like he was miscast here.
Twenty five years older than his young co-star, he's still never quite mature enough for the
serious, suicide-focused plot.
The narrative follows Stewart as a retired detective, suffering from a fear of heights,
who investigates the strange behavior of an old friend's wife, becoming obsessed with
her in the process.
He charges towards his fear by declaring, "One final thing I have to do... and then
I'll be free of the past."
The beautiful Kim Novak is fantastic as his love-interest, portraying a figurative dual
role, depending on her character's behavior and situation.
When she enters a trance-like state, and falls into San Francisco Bay, Stewart immediately
breaks cover to rescue her, in a carefully shot and executed sequence.
The two are able to sell the realism of individual scenes, but the overarching plot is convoluted
and hard to swallow.
Barbara Bel Geddes and Tom Helmore round out the supporting cast with very interesting
characters... but they're sadly absent from the final act, with no real resolution provided
to their characters.
The story is extremely slow moving, especially early on... but once it does pick up the pace
several twists are introduced to keep things captivating.
An almost overbearing score from Bernard Herrmann helps elevate the tension in the more exciting
moments; especially during an inventive, half-animated dream sequence that incorporates some haunting
visuals.
Filmed in "high fidelity vista vision", the tall 16:9 lens is filled with bright colors,
beautiful San Franciscan locations, and sharp framing.
This film was also the first to use Hitchcock's famous "dolly-in, zoom-out" camera technique,
now affectingly known as the "Vertigo effect".
This simple maneuver is utilized with great effectiveness during pivotal moments in the
story to convey Stewart's acrophobia.
Hugely influential, this background compression camera-move has been implemented in dozens
of classics over the years, including "Jaws", "Scarface", "Apollo 13", and many more.
A highly regarded film, including two Oscar nominations, this picture has gained enormous
praise in the sixty years since its release, with the American Film Institute ranking it
9th on their "100 Years...100 Movies" list.
Perhaps I wasn't in the "correct" state-of-mind when watching, but I honestly didn't really
enjoy it.
Especially not when compared to Hitchcock's other, arguably more impressive projects.
The below-average portrayal from Stewart, coupled with a confusing, perplexing plot
and huge stretches without any real tension made this picture decidedly average.
Thankfully, the excellent technical work make it worth watching.
"Vertigo" is a GOOD movie... influential and interesting, but it feels like an unfinished
concept.
Fifth up tonight, "North By Northwest".
This G-rated film was penned by Ernest Lehman who endeavored to write "the Hitchcock picture
to end all Hitchcock pictures" - and I'm pleased to report he accomplished just that.
The $4 million dollar thriller from the Sir Alfred grossed nearly $10 million upon its
release in the summer of 1959.
After opening with some ahead-of-its-time kinetic typography for the credits, this 136
minute feature wastes no time jumping right into the action.
Perennial leading man Cary Grant stars as a hapless New York advertising executive who
is mistaken for a government agent by a group of foreign spies, and is then pursued across
the country while he looks for a way to survive.
Even at 55-years-old, with that "Just For Men" handsomeness about him, I can't think
of any actor more perfect for this role.
From his sly smile, grace under praise, and poise on the run - he handled the duties of
the extensive script with effortless charm.
Eva Marie Saint stars opposite as his cold and complicated love-interest, James Mason
is the mysterious Cold War villain, while a young Martin Landau is an inquisitive henchman.
But really, this is Cary's show through-and-through.
He's the character the audience experiences this tumultuous ride with every step of the
way.
Dealing with his unexplainable predicament he sarcasticly quips, "I don't intend to disappoint
[my family] by getting myself "slightly" killed."
This wise-cracking hero, caught up in a CIA plot bears obvious similarities to the "James
Bond" series which began a few years later.
Like most of Hitchcock's films, "North By Northwest" focuses on an ordinary characters
getting into extraordinary situations.
But what makes this deadly game of mistaken identity so captivating is how relatable and
logical every one of Grant's moves are.
Although he stays a bit more calm and well-humored than most would after being kidnapped at gunpoint
- the progression of his self-investigation is remarkably faithful to how a wayward New
York businessman would deal with the situation.
There are no conveniences to the plot, no unearned twists, or any unbelievable character
motivations.
This is an air-tight screenplay rife with dramatic irony and exciting developments.
I was a bit disappointed with the abundance of unnecessary projection screen backgrounds
though.
Given the impressiveness of the film's landmark sequence - where Grant attempts to outrun
a low-flying crop-duster - other scenes' heavy reliance on obviously fake backdrops took
me out of the moment.
Especially since some were single shot cutaways that could have easily been filmed on-location.
Otherwise, the tall VistaVision frame and deep saturation make for a beautiful-looking
motion picture.
The musical score from Bernard Herrmann contains loud and lively orchestration that ramps the
tension up considerably.
That is until the move exits on one of the most abrupt endings I've ever seen.
Once the final conflict is resolved, a mere 11-second scene is the only denouement we
receive before the film cuts to its "ending" title card.
After such a harrowing climax, the film just needed a little bit more time to properly
exhale before the amusing symbolism of its final shot.
This rushed epilogue is an unfortunate blemish on an otherwise impeccable script.
More than an old-fashioned caper, "North By Northwest" is a classic adventure film that
remains as sharp and as exciting as ever.
This memorable movie is definitely AWESOME.
For tonight's poll question; what is your favorite Alfred Hitchcock film?
For me, it's our next movie, "Psycho".
Alfred Hitchcock's most famous film earns its reputation for a reason.
A departure from the scope and large budget of his previous project, "North By Northwest",
this psychological horror was produced on only $800,000, and filmed in black-and-white
by a television crew.
The return to simplicity paid off in a big way, as the picture took home over $50 million
in ticket sales, making it the second-highest grossing film of 1960.
And in a particularly fortuitous move, Hitchcock deferred his standard $250,000 salary for
60% of these profits, which made him a very, very rich man.
When a Phoenix secretary (Janet Leigh) embezzles a small fortune from her employer and goes
on the run, she meets a peculiar young man (Anthony Perkins) under the domination of
his mother when checking into his remote motel.
Leigh is seductive and convincing as the nervous thief on the lam; constantly checking over
her shoulder while hurrying to get out of town.
We spend the first thirty minutes almost exclusively with her, seeing every cop car and potential
threat from her paranoid perspective.
As the creepy motel owner she reluctantly befriends, Perkins is sublime in his awkward
assertiveness, answering a question about spending time with friends by confessing,
"A boy's best friend is his mother".
This is a stunted social outcast who isn't afraid to get what he wants, even if he's
extremely nervous while doing so.
His naunced portrayal makes his character one of the most memorable villains in cinema
history.
Now, to discuss "Psycho"'s most enduring moment, I'll unfortunately have to spoil the film's
major mid-act twist.
That sequence of course is the iconic "shower scene" - in which Leigh is violently stabbed
to death in the bathroom while attempting to wash away the guilt of her money-stealing
sins.
Considering no entry-wounds are ever shown, and the blood is just monochromatic chocolate
syrup - this is an especially graphic and intense sequence.
Throughout the picture, the score from Hitchock's longtime collaborator Bernard Herrmann utilizes
a muted, strings-only sound to create an unnerving atmosphere.
But during this brutal bathtub slaying?
The once subdued violins erupt with high-pitched piercing sounds at horrifying velocity, mimicking
the knife's unseen stabs.
Coupled with the quickly-edited close-ups, the result is a visceral sequence that still
terrifies audiences nearly 60 years later.
I can only imagine how audiences reacted when this film was first screened.
'The Master Of Suspense' earns his namesake with this moment alone.
It also earned the 109-minute film an "R"-rating when it was retroactively scored by the MPAA
in 1984.
And this is to say nothing of the scene's impact on the story!
Its frightening accomplishments and technical mastery aside, killing off the protagonist
halfway into the picture?
It dumps traditional narrative structure down the drain.
The boldness of Leigh's exit is virtually unparalleled in conventional storytelling.
From then on, the story shifts focus to Perkins and his mother; forcing the audience to become
implicit with their criminal behavior.
When he's destroying the evidence of this bloody crime by scuttling a car in a nearby
swamp... you actually get worried when it stops sinking halfway; if anyone sees the
exposed bumper, poor Norman Bates will be arrested!
But when the final air bubbles escape, and the Ford Custom 300 slowly sinks beneath the
murky water?
We share the same sly smile of relief that Perkins does.
Pivoting the narrative focus from the hero to the villain is a stunning twist, and a
brilliant decision from screenwriter Joseph Stefano.
Setting a new level of acceptability for violence, deviant behavior, and sexuality in American
films - "Psycho" is also considered to be the earliest example in the 'slasher' genre.
Its influential legacy extends beyond even that however, as it led to three sequels,
a prequel, a spin-off, two separate TV series, and a drive-by attraction at Universal Studios.
The masterwork is hampered only by a single, penultimate scene, when a minor-character
delivers a drawn-out explanation of the entire plot for slower viewers.
Spelling things out so directly only serves to kill the perfectly-paced narrative, just
before the movie's powerful final monologue.
Receiving four Oscar nominations and incessant praise, "Psycho" is Hitchock's finest achievement,
and one indelibly haunting picture.
And it's also tonight's featured review, so let's see what you had to say about it.
While everyone praised its originality and technical achievements, you held off on the
top score, rating this an AWESOME.
After careful consideration, and a recent re-watch, I think it's safe to say this is
an AMAZING film.
Finally tonight, my thoughts on "The Birds"
Memorable moments in a shallow script.
Released in March of 1963, this creature-feature from director Alfred Hitchcock grossed over
$8 million more than $3.3 million dollar budget.
In her screen debut, Tippi Hedren stars as a young socialite who pursues a potential
boyfriend to a small costal town where birds suddenly began terrorizing people.
Despite her puke-green clothes, she's easy-going on the eyes, and a relatively endearing protagonist.
But I still feel like the outlandish material would have been better suited in more experienced
hands.
She doesn't get much help from the supporting cast either; Rod Taylor is stiff and uninteresting
as the tall, dark, and handsome chap she only just met, while Jessica Tandy is annoying
and useless as the needy old mother, who plainly declares, "This business with the birds has
upset me!"
That type of lazy, groan-inducing dialogue is not what you'd expect to hear from a future
Academy Award winner... least of all in a Hitchcock film.
I first saw "The Birds" when I was a kid over twenty years ago, and many of its more action-oriented
moments have stayed with me since.
But I had completely forgotten about was how many dull and bizarre developments surround
them.
Basically every character in Bodega Bay is a total moron paralyzed by fear.
And when they're brave enough to take action, they willingly expose themselves to ferocious
bird attacks for seemingly no reason.
Like, when a car explodes and seagulls start going crazy, everyone's immediate reaction
is to leave the security of a diner and go outside?
Then Hedren decides to run into a phone booth for some reason?
It's the kind of boneheaded script that frustrates its audience more than it entertains.
Earlier, when multiple witness come forward with visible bite-marks and horrifying stories...
a majority of the community refuses to believe their own eyes.
The somewhat stilted dialogue doesn't help explain these weird character motivations
either.
This sloppy writing and slow pacing would be more excusable if there were plenty of
bird-attacks to keep things interesting, but nearly an entire hour goes by before the titular
feathered antagonists actually do anything out of the ordinary.
There's basically a twenty minute stretch where Hedren is just tracking down her new
boy-toy... no surprises, no contribution to the plot, just a women slowly traveling to
someone's house to say 'hello'.
All that being said, if you can stay invested, there's some surprisingly nerve-racking moments
in the final act; like when Dakota Johnson's grandmother is literally being eaten alive
by vicious seagulls in a locked attic.
You can't help but feel powerless and horrified at what she's going through.
Retroactively rated PG-13, the bird-attacks here are surprisingly graphic, depicting copious
amounts of blood.
And while some of the bird puppets and projection-screen effects aren't too convincing, they're still
massively more realistic than the flying garbage found in 2010's "Birdemic".
This is thanks largely in part to a pioneering chroma-key effect known as sodium vapor process
- which uses a two-pass "yellow screen" technique - instead of the more conventional blue screen
- to create more precise matte.
Although it doesn't feature any conventional music, the sound effects of the birds themselves
are quiet unsettling.
Redeemable thanks to his lasting imagery and technical merits, "The Birds" disappoints
with a slow screenplay and lame characters.
I thought it was a GOOD film.
Movie Night has been a passion project of mine since before YouTube existed.
I began reviewing films in high school over 13 years ago, and I haven't looked back since.
Over the past 200 episodes I've created nearly two full days worth of original content, reviewed
615 unique films, and written over 300,000 total words - which is half as long as "War
And Peace"!
So while YouTube's changing algorithms and growing creator-base have eroded my viewership,
I'm sticking with it.
And that's entirely because of you.
Whether you've been watching this show since its premiere in November of 2009, or since
last week - I could not have done it without support.
Special mention of course needs to be given to my awesome group of Patreons, especially
my "Producer" team; Simon Andreas Wæraas, Joshua Moran, Kevin Martin, Daniel Epps, and
Kenny Van Gorder.
The generosity you, and my other 60+ Patrons have shown me is beyond humbling - so from
the bottom of my heart, thank you very much.
I'm constantly improving myself, and I truly believe each episode I produce is better than
my last - so I remain excited about what lies ahead.
The 300th episode sure seems like a long ways off, but there's still plenty of movies to
review, so I hope you'll stick me.
As for next week's episode however, that much I can predict, because we'll once again be
reviewing all of the Best Picture nominees for this year's Academy Awards in my seventh
annual Oscar Special.
Until then, please click this information icon to watch more of my reviews, or visit
me on Letterboxd to read my shorter and unfilmed ones.
For the two-hundredth time, my name is Jonathan Paula - thanks for watching and have a good
Movie Night!
For more infomation >> Shiness
For more infomation >> Renault Mégane Cabrio 1.6e - Duration: 1:50. 
For more infomation >> Mercedes-Benz C-Klasse C 350 e Estate Lease Edition Plus Automaat 7% bijtelling! - Duration: 0:56. 
For more infomation >> Peugeot Partner PREMIÉRE 100-Blue e-HDI S&S * AIRCO * - Duration: 1:26. 
For more infomation >> Peugeot 308 SW BWJ 2012 1.6 E-HDI 112 PK BLUE LEASE EXECUTIVE CLIMA/CRUISE/PDC/NAVI - Duration: 0:42. 
For more infomation >> Nana Mouskouri - Ti ho perso (Italian version - Missing) (HD) (CC) - Duration: 4:18. 
For more infomation >> TRAILER BIG BAND ESMAE @uma história de jazz - Duration: 3:38. 
For more infomation >> Shock, Los Fantasmas Más Temibles Del Mundo ¿imágenes reales? - Duration: 39:24. 
For more infomation >> Tem Que Ser Você | Quarteto de Cordas | Instrumental para Casamento - Duration: 1:28. 
For more infomation >> Skoda Fabia - Duration: 0:51. 
For more infomation >> Skoda Fabia - Duration: 0:50. 
For more infomation >> Skoda Yeti - Duration: 0:47. 
For more infomation >> Skoda Yeti - Duration: 0:51. 
For more infomation >> Skoda Yeti - Duration: 0:51. 
For more infomation >> Skoda Yeti - Duration: 0:50. 
For more infomation >> Skoda Yeti - Duration: 0:50. 
For more infomation >> Skoda Yeti - Duration: 0:51. 
For more infomation >> Skoda Yeti - Duration: 0:51. 
For more infomation >> Alfa Romeo 147 1.6 T.SPARK VELOCE COLLEZIONE - Duration: 1:09. 
For more infomation >> Lawsuit ESSURE didn't warn women of serious medical complications - Duration: 8:51. 
For more infomation >> Volkswagen Caddy 1.6 TDI BMT, NAVI,TREKHAAK,AIRCO,PDC,CRUISE C,ELEK RAMEN - Duration: 1:47. 
For more infomation >> Bigop.tv - SERIE - El Caso Q - O caso T - The Q Case - Duration: 0:19. 
For more infomation >> Audi A3 1.8 5V Ambition Climate Bj 2000 !!!! - Duration: 0:59. 
No comments:
Post a Comment