August 2009
19 posts
1 tag
looks like an interesting effort to profit from other people’s micro-reviews: @FilmReviewFri http://ping.fm/aqwgQ filmreview
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“the original Night of the Living Dead: raw but pure with great storytelling. deserves it cult-classic status.” - @jasonmatzner filmreview
a collection of movie title stills, curated by @MovieTitles: http://ping.fm/4WOdE (via @TheCurator)
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a successful pilot episode stands alone as a story — a story which introduces characters and dynamics we want to see again.
in just 50 min “Poirot” #1 makes familiar the core cast, paints the period, throws in a news reel, rivalry, quips—and solves a mystery.
having seen several sporadic and random episodes over the years, tonight watching the first episode of David Suchet as “Poirot” (1989).
“We have a better chance of seeing a 2.40 film from 1959 in its proper format than a movie from 2009. That’s weird and sad.” - S. Soderbergh
“…in the same breath you are told viewers notice the difference enough to complain about it.” - Steven Soderbergh http://bit.ly/16AiZ4
“you are told you shouldn’t care whether your 2.40 film is turned into a 1.78 film because there really isn’t that much of a difference…”
reading Steven Soderbergh’s “Format Wars” in DGA Quarterly. http://bit.ly/16AiZ4
queuing classic cinema in Netflix Instant Watch.
we can’t think of any popular television series cast with more versatile actors than those who consistently suspend our disbelief in “Lost”.
well into a “Lost” season 3 marathon.
“Guns, Germs and Steel” (2005) concludes with a forced smile, after 3 hours documenting Jared Diamond’s thesis of predestined happenstance.
Mark Romanek’s “One Hour Photo” (2002) is a fair first feature; fun to see Robin Williams in a creepy dramatic role.
watched Harold Ramis’ “Groundhog Day” (1993), for the first time. (my bookmarks http://bit.ly/fGr98)
my most repeated mistake: foregoing a film because of the hype surrounding it or the celebrity starring in it.
Jim Jarmusch’s “Broken Flowers” (2005) is a laconic Odyssey, metered in deadpan pauses, departing solitude to arrive in the present.
Tommy Lee Jones is the understated soul of “No Country For Old Men” (2007), a down home tale of our times. hells bells, it’s crazy good.