For a second there I read that as "TRUE STORY: My mom once worked in London in the 70s before porn…" and I laughed.

I prefer my homosexuals when they're not wearing jeans and t-shirt actually.

Edit button is the sneakiest button.

I'd really love to see Val Kilmer try to play young Antoine in a remake of The 400 Blows now though, it would be hilarious.

Middle of the road taste? Do you read other american critics?

There's a difference between saying "I'm going to retire" and "This is my last film". This is the first time he has said the latter. Semantics and context, guys!

Sure, they all love this, but to critics, those films aren't an A-, but solid A's. American reviewers love Soderbergh, and some even say this is truly excellent but it's not one of his career best. I don't think the critical consensus has ever been that Soderbergh never had more than a B+ film.

He's not gon give up! He's not gon stop, he's gon work harder!

Didn't know there was a channel called HBO Todd.

I know, but my point is that every other auteur who usually tends to have that kind of connection with Cannes is someone the juries have embraced early one (Dardennes, Von Trier, Coens). While the selection committee has nothing to do with the jury, for a director to be so recurrent in the main competition line-up…

The funny thing though is that he has never won anything there. Which makes the instant inclusion for everything he has in competition even more curious. I like the guy, but I agree it's excessive to a certain point, and it's hard to see how this relationship he has with the festival became so strong (even before he…

Erotic vampires to the rescue!

WHERE ARE THE GILMORES?

Well, 3 simultaneous Arrested Development notifications is pretty much fueling expectations, I'd say.

Yeah, the second one is so much better. I know I'm probably gonna be crucified for saying this, but while the characterization is interesting, it felt sorta gimmicky in structure for me in the first one, and I always felt it lacked rhythm (not in the sense of being dynamic, but owning it's sense of time and space). I…

Ok, I see your point better now, and I agree about the "succubi" effect, and how sometimes the association takes over and becomes the main source of appreciation rather than the film itself. I don't think that's what Dowd was doing, but I can see where you're coming from, and it's valid.

I'm prepared to really like it but sound like I didn't when I respond to every friend of mine comes to me and keeps repeating something like "ISN'T THIS LIKE THE GREATEST THING EVER?"

Interesting. I have watched Fill the Void last year and thought it was quite good. I'll try this one, as it does sound similar and through a another perspective.

I don't mind comparing novels and films when you're talking from a narrative standpoint. Narrative isn't necessarily the focus on discussions on film (and on personal opinion, it shouldn't, but that's another matter). But if a film is narrative oriented and there's an association with literature, I don't see the harm.…

Brokeback Mountain is just your usual romance film. No subtext excluded. In fact, part of the reason why the film crossover is that the characters are such blank slates you can almost project a heterossexual couple instead, adjusting a few moments and taking one or two scenes out. It's not Un Chant d'Amour or Weekend…