(In which I talk of Cripples, Bastards, and Broken Things and The Wolf and the Lion.) Well, things are picking up quite nicely in the enthralling political and social dramas unfolding in Westeros and the lands across the Narrow Sea, aren’t they? As I said in the last installment, Game of Thrones‘ first few episodes … Continue reading
Shaun of the Dead, 2004 “Take car. Go to Mum’s. Kill Phil, grab Liz, go to the Winchester, have a nice cold pint, and wait for all of this to blow over. How’s that for a slice of fried gold?” Here’s to buddies, chums, best pals, amigos, companeros, and hetero lifemates, and what duo so … Continue reading
How accurate is the science involved in Shane Carruth’s 2004 no-budget home brewed science fiction morality tale, Primer? I must respond to that question with another question: does it damn well matter? I have many pet peeves, it’s true, but if I have one that I truly can’t abide by or overlook it’s the pompous … Continue reading
For those who have read this blog for a while (or who have read it very thoroughly in a minute passage of time), my interest in defining films that are personal and unique to my individual identity and perspective as a cineaste should be well known from my (admittedly minimal) Movies That Matter series to … Continue reading
“Quality” and “HBO original series” tend to go hand in hand, and for good reason. The Home Box Office has a well-established track record of excellence in its programming, from the iconic and hugely successful Sopranoes, to more short-lived but no less excellent shows such as Deadwood and Carnivale. So the idea of HBO offering … Continue reading
A somber post begins with the humor of an Internet meme. Me in a nutshell. I’m not really one to editorialize, so I’ll skip detailing my personal reaction to Osama Bin Laden’s death and forgo analyzing what his departure from this world means for humanity, and I’ll spare you all my various opinions of and … Continue reading
The career of one Thomas McCarthy so far has been marked by an interest in the stories of outsiders, people removed from the societal norm either of their own volition or out of necessity. So his latest picture, Win Win, marks something of a departure from 2003’s The Station Agent and 2008’s The Visitor; rather … Continue reading
A Constant Visual Feast 