yes, hope to see her again as she seems to have real potential. she hasn't done much yet, mostly a few tv credits.Originally Posted by JFermaggio
saw that and was considering posting about it.
yes, hope to see her again as she seems to have real potential. she hasn't done much yet, mostly a few tv credits.
saw that and was considering posting about it.
"It isn't necessary to imagine the world ending in fire or ice. There are two other possibilities: one is paperwork, and the other is nostalgia."
lawless - a bit of a letdown from hillcoat, but worth seeing for gary oldman, if nothing else. tom hardy needs a non-mumbly role, stat.
v/h/s - handycam fatigue aside (and yes, i think we're all on the same page there), it's a fresh take on the time-honored but stale horror anthology thing, and it mostly succeeds because it keeps the proceedings truckin' along at a good clip.
we did a sorta double feature of v/h/s and evil dead trap, and by the time we hit the rape scene in the latter, i just didn't want to have to be a woman anymore.
my three zones of aspiration include upper body layering, accessories, and the key interface of sock, shoe and trouser.
and, like, not that anything in v/h/s was so awful, but usually you get one or two creepy things thrown in over the course of a 90-minute horror movie, and here it was reliably every 20 minutes, at least, from pretty much everybody.
my three zones of aspiration include upper body layering, accessories, and the key interface of sock, shoe and trouser.
Yeah, I thought V/H/S was actually a fairly effective little bit of Grand Guignol, and it certainly didn't waste my time with getting to know characters I don't care about, boring backstory, etc.—pure red meat. That said, the ick-and-not-in-an-entertaining-way factor was pretty high. And thinking about the inevitable sequels that will not bother to live up the "standards" set by the original just made me sad.
Remember, it isn't too late (yet) to see Holy Motors at Downtown West.
still on the doomsday kick.
"It isn't necessary to imagine the world ending in fire or ice. There are two other possibilities: one is paperwork, and the other is nostalgia."
last weekend: the 1939 version of the four feathers, after years of waiting. released the same year as gunga din, it doesn't have cary grant and victor mclaglan, but it does have ralph richardson and c. aubrey smith. the politics are rough, same as gd, but it's a beautiful, elegant film that's more closely related to lawrence of arabia than raiders of the lost ark.
last night: cassavetes' husbands, another one that's been on the list for a long time. a kind of cinematic counterpart to the novels of saul bellow and especially philip roth, a deserved showcase for ben gazzara and peter falk. not perfect—some of the dialogue sounds improvised (but isnt real dialogue imrovised, too?)—but pretty close. not a great argument for being an american man during late-period capitalism, but a pitch-perfect expression of what it feels like.
tonight: holy motors. what a relief it's still playing.
at least he's not writing about metal this week
I like the older version of Four Feathers you're right it's good.
We saw The Hobbit and kinda liked it. It's too long and we can't believe they're making 3 movies out of it. I don't think we'll go see the other two just on general principles.
In the wardrobe of my soul, you're the section labeled shirts. - Canyons of your mind, Bonzo Dog Band.
"Political Correctness is a doctrine, fostered by a delusional, illogical minority and rabidly promoted by an unscrupulous mainstream media, which holds forth the proposition that it is entirely possible to pick up a turd by the clean end."
2007 winning entry from an annual contest at Texas A&M University calling for the most appropriate definition of a contemporary term.
Most recently:
Beasts of the Southern Wild (really well done, and not the annoying cute/naif fest one might imagine, at least imo)
The Dam Busters (an influential flick, and I had never seen it, though I can see why it doesn't circulate much these days—one character has a dog named after, um, a racial epithet)
Trouble Every Day (the Claire Denis film, which I had bailed on once but wanted to give another shot; a bit of a mess, but still powerful when it hits, plus Beatrice Dalle)
Cat People (. . . and speaking of psychosexual afflictions; the old noir-ish one, not the '80s remake)
Au hasard Balthazar (starring the saddest donkey in the world; definitely need to see more Bresson in '13)
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