That was a draw!

Simple question: How did Ygritte, Jon and co. get down the southern face of The Wall (period, let alone without having to battle the Night's Watch)? I thought the only way up/down the southern face of The Wall was the elevator thingie we see each week in the opening credits. Correspondingly, I thought their plan was…

You're sure they didn't play slo-mo, e.g., a semi-quaver every minute or some-such thing, like that 24-Hour Psycho art project?

I Know Where I'm Going is also fab. (And Powell's post-Archers, Peeping Tom, of course; terrific career.)

I like rain, I like ham, I like you.

I don't see the problem with "city's full of sissy pretty love" (I dunno, lots of girly girls and girly boys around together?). The song itself is quite PJ Harvey-ish and I can imagine PJ dropping that lyric too. The album drops off a bit in the second half, and probably could use a bit more melody somewhere, but it's…

Mandatory Forbidden Planet reference.

No, Daisy, Roger's airport squeeze.

Also, take Don at his word; insofar as he'd given Joan any thought at all (as part of his decision) to that extent he thought she'd be relieved at not having to see the fat bastard again. Unfortunately, Don didn't know about the public offering (implausible) nor did he understand how Joan might find his actions…

It'll end with Peggy and Sally and Megan and Megan's Mom and Dawn and Trudy and Daisy and Joan and Joan's hot friend teaching the world to sing in perfect harmony to Oasis.

Take it away Labelle:
http://youtu.be/v8u8HZt5avM
(Losing the demented piano, gaining Gil Scott-Heron)

Sorry to be *that* guy, but a long, anguished moan (which is what I take Soderburgh's address to be) is not a Manifesto: the latter involves a set of concrete proposals or at least a set of hard constraints on possible future proposals (Dogme 95 this ain't).

Not so much a Kiwi Stieg Larsson story as a Kiwi David Peace story: TOTL had the Red Riding Trilogy all over it (including Peter Mullan playing a similarly major role). But, at least for my money, TOTL isn't nearly as good as RRT (but that may just reflect personal taste - Campion almost always drives me crazy).

Night Moves, The Long Goodbye, and Scarecrow are like the Bermuda triangle of somewhat underseen, awesomely bleak '70s pictures: you can easily lose a whole summer watching and rewatching them, trying to turn other people on to them, thinking about how to make a picture like these now, and so on.

Not even close: Aldrich's Emperor of The North Pole w/ Lee Marvin and Ernst Borgnine as the Shack, the single sweatiest individual in movie history.

In fact, wasn't the Tarkovsky designed with an intermission in mind? (You know, like My Fair Lady or GWTW.) There's an official part 1 and part 2 in the version up on youtube. At any rate, I just watched part 1 there and it's slow, no doubt about it, but not that much more than, say, Top Of The Lake, or the first half…

Good article, but describing The Cure as "late-bloomers" seems ridiculous to me: they were brilliant from the beginning - Boys Don't Cry and 10:15 Saturday Night are pop gems any songwriter would kill for, things like Meathook from the first album were as splendidly weird as anything they'd ever do, and so on. And,…

No no, (s)he means the one with the intro that sounds "Lose Yourself."

I'm having a somewhat similar experience: I saw Solaris a long time ago at a film festival and remember being productively bored by it but I didn't think I nodded off in it. Yet I barely remember all the 'driving on highways' stuff everyone's bitching and moaning about here (I recall it being only about 5 minutes - so…

Cleanse your palate with OMD's tastefully nebulous emotion over ice:
http://youtu.be/WRW5o_cRu7Y