Gutted. Never was a movie unworthy of seeing with him in it. I could watch him read the phonebook.

It's like Valhalla Rising and Fear X (only sharing the latter's same visual palette). I really liked Bronson, am somewhat lukewarm on the Pushers (the second one is the one I like most). I'll suspect you'll think OGF is better than me, although to me it's his worst, up there with Fear X.

Didn't take offense, although it feels like you're being overly protective of a film you haven't even seen, is Refn the Nolan of arthouse now?. I'm sure some will undoubtedly defend the film (I can already see Scott Tobias try to justify all the carnage on display), I'm just here from the future (ie. Belgium, where…

Hey, that's your prerogative. I thought all that was absent from Drive, and it didn't serve any higher goal here. But sure, make up your own mind, it's bound to at least emit a reaction out of you.

Honestly, I saw it and you should tone down the enthusiasm. It might be formally daring, but it's also cheaply nihilistic and exploitative. In one scene, Refn lingers leeringly on a handicapped little boy. Why? Why not, he's only making an empty freakshow anyway.

'…a clearly traumatized young woman (Lola Créton) wandering the streets naked except for high heels…' SOLD

Along with Verhoeven, he's probably the Netherlands' most accomplished director. His first two are probably the most acclaimed (that would be Abel (Voyeur) and The Northerners). I like Ober (Waiter) very much too, very Charlie Kaufman-esque. Worth checking out.

Why people don't like Duvall's performance in The Shining is one of life's bigger mysteries. To me, her performance is really unnerving and appropriately annoying. It's exactly the thing Kubrick wanted to get out of her.

As one of those people who can enjoy the latest Claire Denis as much as Road House I can only join the chorus decrying Scott Tobias' leave. When Roger Ebert died last week, people lauded his love for well made pulp and his admiration for audacious cinema. I can easily say the same about Scott Tobias, whose taste in…

Saw Electric Mist and really liked it. It's pretty good in the director's cut, but there's also an American cut (which the director thinks is a botch job), that's probably best to be avoided. Great parts by Jones, John Goodman and Peter Sarsgaard and an awesome Cajun soundtrack. Recommended

Saw Electric Mist and really liked it. It's pretty good in the director's cut, but there's also an American cut (which the director thinks is a botch job), that's probably best to be avoided. Great parts by Jones, John Goodman and Peter Sarsgaard and an awesome Cajun soundtrack. Recommended

I wonder if this review will bring all the Belgian AV-club commenters out.

Another recent example of score appropriation is Drive, which uses this song (http://www.youtube.com/watc… from some obscure Italian film.

NCC-suggestion:

It's scary how fast 50 became the poor man's Cuba Gooding.

No Powers Boothe?

White of the Eye by Donald Cammell. The only movie he had final cut on and one bizarre, brilliant ride of a movie.

It is a stretch! Before this, the guy was in It's Pat: The Movie after all.

Yeah, Seven-Ups does get rarely mentioned. Exceptional car chase, though the film itself is just slightly above average.

Agreed, best one ever! Also it's the best Michael Mann movie Michael Mann didn't make.