The "I drink your milkshake" line from "There Will Be Blood" is all over the Internet. I even wrote a column about it.
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Thursday, February 14, 2008
Wednesday, February 13, 2008
'Star Wars' Still Lucas's Whacking Material of Choice
At the press conference for "Star Wars: Revenge of the Sith," George Lucas went off on how he's really an experimental filmmaker who wants to make films about light, motion and color. But now he's realized that he still has "Star Wars" stories to tell, in theaters and on TV. Too bad he didn't realize he had stories to tell while writing "Attack of the Clones"—something might have actually happened during that piece of shit.
The upcoming Star Wars theatrical feature is animated—so I'm not sure how it differs from the last three. Lucas says he wants to further the art of animation, presumably by having everything on the screen move at every moment in time. What if that tree that's just sitting there were really an alien that looked like a tree? And each of his leaves were space ships, at war with one another? And then a giant dinosaur could fly by in the background in a giant spaceship, land, get out and do a dance!" (Stroke, stroke, stroke.)
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The upcoming Star Wars theatrical feature is animated—so I'm not sure how it differs from the last three. Lucas says he wants to further the art of animation, presumably by having everything on the screen move at every moment in time. What if that tree that's just sitting there were really an alien that looked like a tree? And each of his leaves were space ships, at war with one another? And then a giant dinosaur could fly by in the background in a giant spaceship, land, get out and do a dance!" (Stroke, stroke, stroke.)
A Quick Way to Expand Your Movie Collection
The esteemed Rohauer Collection is up for sale.
"The world's largest collection of silent movies, including those starring Buster Keaton, has been put up for sale with its vendors expecting interest from film enthusiasts, universities, picture archives and other media businesses.
"The Rohauer Collection of 700 silent and classic films was amassed by Los Angeles cinema owner Raymond Rohauer over three decades. The library of films, still photos and other movie ephemera was bought in 1995 by film industry veteran Gary Dartnall and turned into a company called Douris.
…
"'"We will license things if those deals look attractive and we would sell the whole thing were there to be attractive offers. Hopefully we will shortly embark on a formal campaign to market it," said Paul Holden from the administration team."
Could anyone lend me a little money?
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"The world's largest collection of silent movies, including those starring Buster Keaton, has been put up for sale with its vendors expecting interest from film enthusiasts, universities, picture archives and other media businesses.
"The Rohauer Collection of 700 silent and classic films was amassed by Los Angeles cinema owner Raymond Rohauer over three decades. The library of films, still photos and other movie ephemera was bought in 1995 by film industry veteran Gary Dartnall and turned into a company called Douris.
…
"'"We will license things if those deals look attractive and we would sell the whole thing were there to be attractive offers. Hopefully we will shortly embark on a formal campaign to market it," said Paul Holden from the administration team."
Could anyone lend me a little money?
Five More Episodes
To append my last post, Carlton Cuse just told TV Guide that there will be five more episodes of "LOST" in season four.
"Damon [Lindelof] and I are going to try to make five more episodes before the end of May, which is ambitious. But we've found ourselves in a situation where we had eight episodes of story planned, and we're going to try to fit that into five hours of the show. Even though it's going to be very hard to execute, we felt like any less would be doing a disservice to the story we had planned. We really want to give the fans the best possible experience and ending... to Season 4."
The remaining three planned episodes will be moved into seasons five and/or six. Hopefully this doesn't screw up the story arc, which will still conclude this season, too much.
Also, it doesn't sound like there will be a two-hour finale this year.
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"Damon [Lindelof] and I are going to try to make five more episodes before the end of May, which is ambitious. But we've found ourselves in a situation where we had eight episodes of story planned, and we're going to try to fit that into five hours of the show. Even though it's going to be very hard to execute, we felt like any less would be doing a disservice to the story we had planned. We really want to give the fans the best possible experience and ending... to Season 4."
The remaining three planned episodes will be moved into seasons five and/or six. Hopefully this doesn't screw up the story arc, which will still conclude this season, too much.
Also, it doesn't sound like there will be a two-hour finale this year.
Tuesday, February 12, 2008
Strike Out, New TV In
As the writer's strike looks to end, E! Online has created a handy rundown on the production status of the various serialized comedies and dramas that air on television boxes around the world. Of course, most of those shows don't matter, but I can sum up what E has to say about the ones that do.
LOST: The creators are dedicated to producing some more episodes in addition to the eight that were previously completed and started airing two weeks ago. Some episodes. That's nice and committal, eh? A recent Variety article suggested that if the strike ended around this time, they might be able to complete the remaining eight installments were slated for season four in time to launch them for May sweeps. Whether this is realistic or not, I don't know. (Other ABC shows that might indicate: "Ugly Betty" promises "four to six" episodes, the "Desperate Houswives" folks hoped to cram in seven back at the SAG awards.) But here's hoping.
Pushing Daisies: More like "Pushing Shafts…Up the Show 'Pushing Daisies'…By Which I Mean Warner Shafted It" Executive Producer Bryan Fuller says that the best new show of the season won't return right away. Warner Bros. originally said that he should start compiling scripts for season 2 as soon as the strike ends. But now they're just telling him to wait until March. Dickheads.
The Office: Six to 10 new episodes. That's about the maximum anyone has promised. Taking into account that "LOST" is twice as long, however, suggests that all eight of its unproduced episodes might be too much to ask. Did I mention I really want to see the rest of the season of "LOST?"
Mad Men: I kind of gave up on this show, which seemed to have a lot of potential, after a ludicrous plot development in the fourth or fifth episode. But some people tell me that it gets better, so I've decided to include it hear. Lionsgate (which should be Lion's Gate, damn it!) already struck a deal, so the show is in pre-production now. The new season should start by the end of the summer.
Those are the shows that I feel are worth a damn. Any others I should have mentioned? Hmmm… It turns out "House" has writers—I thought the actors had just been winging it, but I guess Fox was airing reruns all this time. It's hard to tell the difference. "Heroes" is out for the year while creator Tim Kring writes a series Bible. I hope one of its commandments is "Thou Shalt Not End a Season with a Lame-Ass, Anti-Climactic Finale."
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LOST: The creators are dedicated to producing some more episodes in addition to the eight that were previously completed and started airing two weeks ago. Some episodes. That's nice and committal, eh? A recent Variety article suggested that if the strike ended around this time, they might be able to complete the remaining eight installments were slated for season four in time to launch them for May sweeps. Whether this is realistic or not, I don't know. (Other ABC shows that might indicate: "Ugly Betty" promises "four to six" episodes, the "Desperate Houswives" folks hoped to cram in seven back at the SAG awards.) But here's hoping.
Pushing Daisies: More like "Pushing Shafts…Up the Show 'Pushing Daisies'…By Which I Mean Warner Shafted It" Executive Producer Bryan Fuller says that the best new show of the season won't return right away. Warner Bros. originally said that he should start compiling scripts for season 2 as soon as the strike ends. But now they're just telling him to wait until March. Dickheads.
The Office: Six to 10 new episodes. That's about the maximum anyone has promised. Taking into account that "LOST" is twice as long, however, suggests that all eight of its unproduced episodes might be too much to ask. Did I mention I really want to see the rest of the season of "LOST?"
Mad Men: I kind of gave up on this show, which seemed to have a lot of potential, after a ludicrous plot development in the fourth or fifth episode. But some people tell me that it gets better, so I've decided to include it hear. Lionsgate (which should be Lion's Gate, damn it!) already struck a deal, so the show is in pre-production now. The new season should start by the end of the summer.
Those are the shows that I feel are worth a damn. Any others I should have mentioned? Hmmm… It turns out "House" has writers—I thought the actors had just been winging it, but I guess Fox was airing reruns all this time. It's hard to tell the difference. "Heroes" is out for the year while creator Tim Kring writes a series Bible. I hope one of its commandments is "Thou Shalt Not End a Season with a Lame-Ass, Anti-Climactic Finale."
Monday, February 11, 2008
The End of HD DVD
Well, if the Jan. 4 announcement of Warner's decision to go Blu-ray exclusive didn't kill HD DVD, Sony's impressively orchestrated Blitzkrieg today did. Mysteriously, Netflix chose to announce that it is phasing out its HD DVD selection on the same day Best Buy announced that they will officially recommend Blu-ray to its customers.
The HD DVD group had a month to answer the Warner blow. They could have wooed Disney or convinced their current studios to start selling regular DVDs as combo discs, giving themselves an unexpected lease on life. Instead, they sat on their asses, slashed some prices and wasted money on a lame Super Bowl spot that didn't even air in all markets.
The result of the Blu-ray victory will likely be a delay the adoption of HD media. Blu-ray players remain more expensive than the average consumer is willing to pay, and the format offers no discs that can be played in older DVD players. For people who have DVD players in multiple rooms of the house and the car, this doesn't make for an appealing scenario. HD DVD had the potential to break down these barriers, but Toshiba and co. botched it with poor strategies and marketing. That isn't to say that they wouldn't have won if Sony didn't pay Warner half a billion dollars, but surely Toshiba would have done the same if they had the dough.
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The HD DVD group had a month to answer the Warner blow. They could have wooed Disney or convinced their current studios to start selling regular DVDs as combo discs, giving themselves an unexpected lease on life. Instead, they sat on their asses, slashed some prices and wasted money on a lame Super Bowl spot that didn't even air in all markets.
The result of the Blu-ray victory will likely be a delay the adoption of HD media. Blu-ray players remain more expensive than the average consumer is willing to pay, and the format offers no discs that can be played in older DVD players. For people who have DVD players in multiple rooms of the house and the car, this doesn't make for an appealing scenario. HD DVD had the potential to break down these barriers, but Toshiba and co. botched it with poor strategies and marketing. That isn't to say that they wouldn't have won if Sony didn't pay Warner half a billion dollars, but surely Toshiba would have done the same if they had the dough.
Sunday, February 10, 2008
Lost in a nutshell
(This post concerns the latest episode of LOST ("Confirmed Dead"), so if you aren't caught up with the series, you best skip it.)
The relationship between "LOST" and its viewers is best summed up in this exchange between Locke and Ben in "Confirmed Dead."
BEN: I have information that you need. I have answers.
LOCKE: What is the monster?
BEN: What?
LOCKE: The black smoke, the monster! What is it?
BEN: I don't know.
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The relationship between "LOST" and its viewers is best summed up in this exchange between Locke and Ben in "Confirmed Dead."
BEN: I have information that you need. I have answers.
LOCKE: What is the monster?
BEN: What?
LOCKE: The black smoke, the monster! What is it?
BEN: I don't know.
Oscar Catch-Up
Wednesday, February 6, 2008
Last weekend's Reviews
I know, I know. Sorry. I went to New York City for the weekend.
"The Savages" **1/2
"The Diving Bell and the Butterfly" ***1/2
"Persepolis" ***1/2
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"The Savages" **1/2
"The Diving Bell and the Butterfly" ***1/2
"Persepolis" ***1/2
Sundance Ends
In case you missed it, you better read my Sundance wrapup. I talk about award winners and some stuff that was good that didn't win awards. Exciting stuff.
You may also like to re-read my previous Sundance coverage, including my mid-festival mopery and IN capsule reviews.
I'm always interested in how the jury reacts to Sundance's odd tendancy to play "One of These Things is Not Like the Other" and break their implied programming guidelines. In general, Sundance focuses on lesser-known filmmakers for its competition categories, while they place the bigger names in Premieres and Spectrum (formerly American Spectrum, and for a year or two they created American Showcase, so that American Spectrum could devote itself to small films that didn't make competition while Showcase highlighted established talent). For example, this year's documentaries by Morgan Spurlock and Stacy Peralta were in Spectrum this year because "Super-Size Me" and "Dog Town and Z-Boys were already Sundance hits.
But Sundance programmers occasionaly break this rule. Indie celeb Steve Buscemi made the competition with "Lonesome Jim" a few years back. David Gordon Green is always in competition as part of Sundance's penance for the infamous and unforgivable "George Washington" snub. This year, Sundance put "Sugar" in competition, even though it was by the talented duo behind "Half Nelson" (see previous entry). These films rarely win awards, although "All the Real Girls" did receive a Special Jury Prize. It could be the jury didn't think the films were as good, but in the case of this year's selections, "Sugar" easily deserved recognition over crap like "Anywhere, USA ."
If you were a jury member at Sundance, would you feel obliged to pick the best films for awards, or to draw attention to independent filmmaking? It's kind of tricky, really.
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You may also like to re-read my previous Sundance coverage, including my mid-festival mopery and IN capsule reviews.
I'm always interested in how the jury reacts to Sundance's odd tendancy to play "One of These Things is Not Like the Other" and break their implied programming guidelines. In general, Sundance focuses on lesser-known filmmakers for its competition categories, while they place the bigger names in Premieres and Spectrum (formerly American Spectrum, and for a year or two they created American Showcase, so that American Spectrum could devote itself to small films that didn't make competition while Showcase highlighted established talent). For example, this year's documentaries by Morgan Spurlock and Stacy Peralta were in Spectrum this year because "Super-Size Me" and "Dog Town and Z-Boys were already Sundance hits.
But Sundance programmers occasionaly break this rule. Indie celeb Steve Buscemi made the competition with "Lonesome Jim" a few years back. David Gordon Green is always in competition as part of Sundance's penance for the infamous and unforgivable "George Washington" snub. This year, Sundance put "Sugar" in competition, even though it was by the talented duo behind "Half Nelson" (see previous entry). These films rarely win awards, although "All the Real Girls" did receive a Special Jury Prize. It could be the jury didn't think the films were as good, but in the case of this year's selections, "Sugar" easily deserved recognition over crap like "Anywhere, USA ."
If you were a jury member at Sundance, would you feel obliged to pick the best films for awards, or to draw attention to independent filmmaking? It's kind of tricky, really.
'Parnassus' is Go
According to the film's producers and Phil at Dreams, Terry Gilliam's "The Imaginarium of Dr. Parnassus" will resume its production schedule very soon. All of the late, great Heath Ledger's performance filmed prior to his death will remain in tact. The film's shooting schedule was such that all the material previously shot in London took place on "real" earth, while the remaining soundstage footage takes place in a fantasy world. Ledger's character also wears a series of disguises during the film, which lends itself to the recasting process.
The film's official website launched today, too (whereby "launched" I mean, "they put up a 'coming soon' marker").
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The film's official website launched today, too (whereby "launched" I mean, "they put up a 'coming soon' marker").
Tuesday, February 5, 2008
Friday, January 25, 2008
Sundance Reliables Satisfy, but I'm Still Bummed
Two of the best films at Sundance have come from already established names. Ryan Fleck and Anna Boden cemented themselves as first-rate creators of emotionally affecting character studies with their follow-up to 2006's "Half Nelson," "Sugar." And Austrian Michael Haneke, a giant who has established himself over the past few decades as a purveyor of endlessly fascinating cinematic reflection, unveiled his English-language remake of his 1997 film "Funny Games."
"Sugar" follows the coming-of-age of a baseball player for the Dominican Republic who carries with him the dream of his nation. Every major league team from the United States has a farm camp in the country, where they develop talented players who hope to go to the United States and work their way up from the minor leagues. Sugar is the most promising young pitcher of his group, and is confident that he can conquer America. But this isn't a traditional sports movie with a grand big game and a dramatic finish—it's about a young man who still hasn't found himself, who tries to make his way in a foreign land.
Fleck and Boden understand the immigrant experience and the lives of players whose immense talent sadly might not be enough to carry them to a lucrative career. Some men from Sugar's town have already made it to the states, and wound up right back where they are. Unknown actor Algenis Perez Soto provides a remarkable performance, proving that the two knock-out performances from "Half Nelson" were no fluke.
Haneke's new "Funny Games" is just as challenging and disturbing as the original. Haneke turns his thriller of cruel torture into a satirical commentary on the material and the viewer's desires. While some might argue that it's pointless to remake a film in English, Haneke's shocking style and the brilliant cast, particularly Michael Pitt, definitely make it worth while.
While I'm happy to have seen films as good as "Sugar" and "Funny Games," I can't help but be disappointed in the festival as a whole. I already knew Fleck and Boden could make a great film, and in the case of "Funny Games" I even knew the specific brilliance of Haneke's conceit. Two years ago, I had a real Sundance experience when I stumbled into "Half Nelson" expecting nothing. I'm glad "Sugar didn't disappoint, but am sad that so many of the unknown filmmakers' work did. Sundance is supposed to be a festival of discoveries, but for these titles, but I already had a roadmap.
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"Sugar" follows the coming-of-age of a baseball player for the Dominican Republic who carries with him the dream of his nation. Every major league team from the United States has a farm camp in the country, where they develop talented players who hope to go to the United States and work their way up from the minor leagues. Sugar is the most promising young pitcher of his group, and is confident that he can conquer America. But this isn't a traditional sports movie with a grand big game and a dramatic finish—it's about a young man who still hasn't found himself, who tries to make his way in a foreign land.
Fleck and Boden understand the immigrant experience and the lives of players whose immense talent sadly might not be enough to carry them to a lucrative career. Some men from Sugar's town have already made it to the states, and wound up right back where they are. Unknown actor Algenis Perez Soto provides a remarkable performance, proving that the two knock-out performances from "Half Nelson" were no fluke.
Haneke's new "Funny Games" is just as challenging and disturbing as the original. Haneke turns his thriller of cruel torture into a satirical commentary on the material and the viewer's desires. While some might argue that it's pointless to remake a film in English, Haneke's shocking style and the brilliant cast, particularly Michael Pitt, definitely make it worth while.
While I'm happy to have seen films as good as "Sugar" and "Funny Games," I can't help but be disappointed in the festival as a whole. I already knew Fleck and Boden could make a great film, and in the case of "Funny Games" I even knew the specific brilliance of Haneke's conceit. Two years ago, I had a real Sundance experience when I stumbled into "Half Nelson" expecting nothing. I'm glad "Sugar didn't disappoint, but am sad that so many of the unknown filmmakers' work did. Sundance is supposed to be a festival of discoveries, but for these titles, but I already had a roadmap.
Sundance Films to Avoid Like the Plague
If you are presented with the opportunity to see these titles, run the fuck away.
"Love Comes Lately" is about a self-obsessed acclaimed old writer who can't write for shit. His stories are every bit as boring and trite as his life.
Michael Keaton's "The Merry Gentlemen" sends out a wave of depression with its unimaginative and inexplicable direction. The acting might have pulled it through, if only the characters hadn't been so poorly conceived.
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"Love Comes Lately" is about a self-obsessed acclaimed old writer who can't write for shit. His stories are every bit as boring and trite as his life.
Michael Keaton's "The Merry Gentlemen" sends out a wave of depression with its unimaginative and inexplicable direction. The acting might have pulled it through, if only the characters hadn't been so poorly conceived.
Wednesday, January 23, 2008
Sundance's Refrain: 'Nothing Great'
"Nothing Great." This is the most common response I hear when I ask my fellow Sundance FIlm Festivaleers what they've seen so far. But that doesn't mean everything is middle of the road. There are plenty of films that I have outright hated, and plenty that were good, but "nothing great."
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Friday, January 18, 2008
Sundance Begins
The Sundance festival is just barely underway, but I've already witnessed a car accident and seen a few good films.
The festival opener, "In Bruges," which I reviewed for Film Threat, is one of the best films I've ever seen at the festival on opening night. That might not say a whole lot, but that doesn't mean the film isn't a great dark comedy.
I wrote a helpful guide to stereotyping your fellow festival-goers and participated in IN's staff's most-anticipated films list, even though I find it's best not to anticipate anything at Sundance, other than that you'll be surprised.
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The festival opener, "In Bruges," which I reviewed for Film Threat, is one of the best films I've ever seen at the festival on opening night. That might not say a whole lot, but that doesn't mean the film isn't a great dark comedy.
I wrote a helpful guide to stereotyping your fellow festival-goers and participated in IN's staff's most-anticipated films list, even though I find it's best not to anticipate anything at Sundance, other than that you'll be surprised.
Thursday, January 10, 2008
I Moved, Don't Have the Internet and Sundance is Coming
I moved on Thursday and have since been living a sad, cold, Internet-less existence. It's a lonely world when you aren't wired to everyone else. I'll try to catch up on what I missed (including the apparent death knell for HD DVD) before Sundance starts.
In the last issue of IN, I turned in a second year-end column that touched on my favorite moments. I also lamented the awkward "Romance and Cigarettes."
This week's issue tackles Sundance, but not all the stories seem to be online. Yet they are, if you look in the archive section. I looked over the track record from Sundances past and compared the Salt Lake City and Park City festivals. My column is a list of my favorite films that came out of Sundance's Dramatic Competition category. I'm sure I left out some great ones, but that's how it goes some times. (Sorry, "Manda Bala." On the bright side, you didn't qualify for this list.)
It has the wrong rating on it, by my review of "The Orphanage" should reflect my admiration for the film. I also reviewed "Youth Without Youth," but that's not coming out this weekend any more so I guess we'll pretend that I never wrote about it at all.
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In the last issue of IN, I turned in a second year-end column that touched on my favorite moments. I also lamented the awkward "Romance and Cigarettes."
This week's issue tackles Sundance, but not all the stories seem to be online. Yet they are, if you look in the archive section. I looked over the track record from Sundances past and compared the Salt Lake City and Park City festivals. My column is a list of my favorite films that came out of Sundance's Dramatic Competition category. I'm sure I left out some great ones, but that's how it goes some times. (Sorry, "Manda Bala." On the bright side, you didn't qualify for this list.)
It has the wrong rating on it, by my review of "The Orphanage" should reflect my admiration for the film. I also reviewed "Youth Without Youth," but that's not coming out this weekend any more so I guess we'll pretend that I never wrote about it at all.
Friday, December 28, 2007
How Does It Feel? Like 2007 Rocked
It's official. Todd Haynes's "I'm Not There" is at the top of my best films of 2007 list. Check it out.
I also reviewed the sometimes outstanding and sometimes obnoxious"Juno" and Mark Forster's increasingly ridiculous "The Kite Runner."
Monday, December 24, 2007
Utah Film Critics Association announces year-end awards
You'll see my own best-of next week, but here's where my organization landed:
Best Picture: No Country for Old Men
Runner-up: Juno
Best Achievement in Directing: Joel and Ethan Coen, No Country for Old Men
Runner-up: Paul Thomas Anderson, There Will Be Blood
Best Lead Performance, Male: Daniel Day-Lewis, There Will Be Blood
Runner-up: Casey Affleck, The Assassination of Jesse James by the Coward Robert Ford
Best Lead Performance, Female: Ellen Page, Juno
Runner-up: Amy Adams, Enchanted
Best Supporting Performance, Female: Amy Ryan, Gone Baby Gone
Runner-up: Cate Blanchett, I’m Not There
Best Supporting Performance, Male: Javier Bardem, No Country for Old Men
Runner-up: Hal Holbrook, Into the Wild
Best Screenplay: Joel and Ethan Coen, No Country for Old Men
Runner-up: Diablo Cody, Juno
Best Documentary Feature: The King of Kong: A Fistful of Quarters
Runner-up: My Kid Could Paint That
Best Animated Feature: Ratatouille
Runner-up: The Simpsons Movie
Best Non-English Language Feature: The Host
Runner-up: The Diving Bell and the Butterfly
Utah Film Critics Association Top 10 Films of 2007 (alphabetical):
3:10 to Yuma
The Assassination of Jesse James by the Coward Robert Ford
No Country for Old Men
I’m Not There
Into the Wild
Juno
Knocked Up
Michael Clayton
Once
There Will Be Blood
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Best Picture: No Country for Old Men
Runner-up: Juno
Best Achievement in Directing: Joel and Ethan Coen, No Country for Old Men
Runner-up: Paul Thomas Anderson, There Will Be Blood
Best Lead Performance, Male: Daniel Day-Lewis, There Will Be Blood
Runner-up: Casey Affleck, The Assassination of Jesse James by the Coward Robert Ford
Best Lead Performance, Female: Ellen Page, Juno
Runner-up: Amy Adams, Enchanted
Best Supporting Performance, Female: Amy Ryan, Gone Baby Gone
Runner-up: Cate Blanchett, I’m Not There
Best Supporting Performance, Male: Javier Bardem, No Country for Old Men
Runner-up: Hal Holbrook, Into the Wild
Best Screenplay: Joel and Ethan Coen, No Country for Old Men
Runner-up: Diablo Cody, Juno
Best Documentary Feature: The King of Kong: A Fistful of Quarters
Runner-up: My Kid Could Paint That
Best Animated Feature: Ratatouille
Runner-up: The Simpsons Movie
Best Non-English Language Feature: The Host
Runner-up: The Diving Bell and the Butterfly
Utah Film Critics Association Top 10 Films of 2007 (alphabetical):
3:10 to Yuma
The Assassination of Jesse James by the Coward Robert Ford
No Country for Old Men
I’m Not There
Into the Wild
Juno
Knocked Up
Michael Clayton
Once
There Will Be Blood
Need Gifts? Need estranged sisters? Need Cox?
I've met all my holiday deadlines and fulfilled all my voting obligations, and then slept for a very long time. If you haven't seen it yet, you don't have much time to read my holiday gift guide for film snobs, part of IN's last-minute gift issue.
You should also check out my reviews of Noah Baumbach's "Margot at the Wedding," which features Nicole Kidman in one of the best performances of the year, and "Walk Hard: The Dewey Cox Story," a hilarious parody in which John C. Reilly reveals he can sing like nobody's business.
And, don't forget my column about how much motion capture sucks.
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You should also check out my reviews of Noah Baumbach's "Margot at the Wedding," which features Nicole Kidman in one of the best performances of the year, and "Walk Hard: The Dewey Cox Story," a hilarious parody in which John C. Reilly reveals he can sing like nobody's business.
And, don't forget my column about how much motion capture sucks.
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