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"Can I write about the trailer for A Most Violent Year?”

"Yes, Meghan, you can write about Oscar Isaac." 

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No, you submit, do you hear? You be strong, you survive… You stay alive, no matter what occurs! I will find you. No matter how long it takes, no matter how far, I will find you. 

HOLY FUCK LAST OF THE MOHICANS

/I’d never watched this all the way through before. In my tweens, my sister told me to watch it and I couldn’t connect and in my teens I walked in on the same sister watching it and I saw the last 15 minutes with her dramatic narration and still didn’t get it.

//I GET IT NOW. HOLY FUCK.

///Can we talk about how Cora is bi-racial in the book? And what that fucking means in American lit—even though she and Hawkeye don’t bone in the book because in the book Cora is paired off with Uncas and the film switches Cora and Alice’s fate??

////BUT STILL. This is some early American lit dealing with multi-layered multi-ethnic stuff and it has been WHITE-WASHED.

(Source: alesandortorrent)

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Amusing anecdote…In 2005, I was interning in the Manuscript Division of the Library of Congress and Liam Neeson came in to look at some historic documents in preparation for his role as Abraham Lincoln in Steven Spielberg’s Lincoln.

But then it was delayed.

So, coming in 2020, Robopocalypse, starring Elle Fanning and the buffed up version of the kid who played Gavroche.

(Source: popculturebrain)

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Thoughts on Anna Karenina…

…I think the romance in my soul has died because I was sort of with Anna until the part where she had the *SPOILER ALERT* and then Jude Law’s character did the *SPOILER ALERT* thing and offered to *SPOILER ALERT* and I was like, “You fucking moron, Anna, stay with bald Jude Law. Sure, he cracks his knuckles and puts on a weird old fashioned condom that he keeps in a crystal case, but great sex does not a great man make, and based on *SPOILER ALERT*, he’s a solid dude. YOU ARE A FUCKING MORPHINE CHUGGING MORON!”

Whatevs.

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"Set against the distinctive landscapes of Detroit and Tangiers, an underground musician (Tom Hiddleston), deeply depressed by the direction of human activities, reunites with his resilient and enigmatic lover (Tilda Swinton). Their love story has already endured several centuries at least, but their idyll is soon interrupted by her wild and uncontrollable younger sister (Mia Wasikowska)."

 Michelle Begnoche on Only Lovers Left Alive (x)

WAT

(via lafiebre)

Guys, Hiddlywinks and SWINTON are going to be vampire lovers in a movie set in Detroit, sooo…it’s either going to be awesomely epic, completely horrible or a completely awesome horrible epic. 

(Source: yourdailyhiddles, via lafiebre)

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My Review of Woody Allen’s “To Rome With Love”

In short:

In slightly less short:

I mean, there were some redeeming factors—notice the surviving train structure and Jesse Eisenberg. However, Gaby and I agreed the script is one decent movie idea*, two halfway decent sketch ideas**, and a bunch of lines about how pretty scenery we don’t see is and how adultery is GREAT all tossed together with great actors just to promote Italian tourism. 

Please don’t see this movie. Watch Midnight in Paris again and/or book a ticket to Rome.

*The Older Man revisiting his youthful follies abroad as psychic projection of real time conscience (i.e. the Alec Baldwin-Jesse Eisenberg-Greta Gerwig-Ellen Page storyline).

**The opera singer in the shower and the famous for no reason gags.

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First Hunger Games trailer

It looks good, but does it sound good? I can’t listen to video at work.

Thanks EW!

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Wine On Film: A New Segment on the Blog

Yesterday I watched The Big Chill (1983) for the first time and while I enjoyed the film and the actors’ performances, I was horrified by the massive issues in what I call “Wine Continuity”.

Spoiler alert! There are a lot of glasses of wine in this film, but hardly any of them are actually sipped from. In fact, in most scenes, wine glasses are everywhere, but with one exception that I noticed (Glenn Close’s glass in the living room scene where they talk about their friend’s suicide is empty), all of the glasses are half filled. Time in the scene will go on and the level of the wine in the glasses barely moves. It’s as though the actors wanted to play drunk on set, but they didn’t want to show the audience how their characters got drunk. In one scene my BFF Jeff Goldblum actually falls asleep with a glass of wine in his hands.* William Hurt takes the glass, but then he never sips it. He just holds it as he chats up Meg Tilly’s character.

I have considered the idea that the reason all the glasses are always half-full is to metaphorically connect to the film’s overall themes of life, death, and mid-life crises. However, there’s also an issue of “Wine Continuity” with actual bottles of wine. Towards the end of the film, Glenn Close and Kevin Kline meet in a pantry for a deep character moment, and behind them the wine rack is entirely filled. However, in the film, bottles of wine are opened. No one brings a new bottle of wine into the house in any scene that I can recall, so this is a huge “Wine Continuity” error. At least one bottle should be missing from the wine rack. 

I remember Kevin Kline carrying this bottle of wine, but I don’t remember him opening it.

In conclusion, writer/director Lawrence Kasdan proves in The Big Chill that he has the ability to direct brilliant actors to wonderful performances, but he has no idea how to direct wine.

*My BFF Jeff Goldblum does sip the wine in order to down a qualude. 

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Who knew being a Nazi sympathizer could look so good?