They're ex-Ceaser's Palace workers not history buffs. They're living out their idea of the Romans, as patently wrong as it may be.

"To put it in your terms, what if they carry it, and because of that, 11 people decide to drop Netflix?"

But watching the trailer would probably kill your buzz faster than reading those reviews.

Allow me to kill your buzz:

"Safe" has an awfully long driving sequence before the sex. And in any case the sex is there for pretty much the same reason as Citizen Ruth's.

Haven't visited Vern's site recently but I'm pretty sure that comparison was done by David Bordwell who's well worth a read. He's one of the few critics with an online presence that really goes in depth on how shots are set up and filmed from a technical standpoint.

Sometimes I get irritated when the folk behind me catch each other up on a plot point but then I read an American talking about their cinema going experience and I don't feel so bad anymore.

I'd like to see another Tasha feature as well but I doubt the lack of said feature has anything to do with the AVC not appreciating her talents as a writer.

I think the majority of people who claim they have issues with subtitles merely have issues with foreign films. Half the world went and saw Avatar and that movie has enough subtitled dialogue to fill up a more conservative running time. Unless of course audiences have a problem with the size and font of their…

*All Right*

Meek's Cutoff won't be released until next year. The distributor didn't want it getting lost in what looks like a pretty crowded prestige slate. As for Winter's Bone I think it still is and I suspect the reason its not mentioned here is because, like likely contender The Kids are Allright, it's already been released.

*Forward*

(By same here I meant to say thanks for the coverage as well.)

Same here - well the few that make it out to the local film fest anyway. With any luck Trigger might even get a limited release. I'm looking foreword to it despite the lukewarm press because I've been hanging out for new McDonald after the expertly staged Pontypool. I suspect that could have been a lot less jittery in…

The destiny thing is also kind of troubling given its a story about a slum dweller's rise. He gets out because its his destiny to do so. Does that mean that people who live their whole lives as slum dwellers are destined to do so?

I don't have an issue with the kid coming out on top in the end. As for the morality I my problem is that it was a series of black and white choices - the characters either pursue love wholeheartedly or money wholeheartedly. Do the former and you get everything you could ever want or desire, do the latter and you die…

It also embraced, with a total lack of irony, the idea that "Millionaire" is some sort of highly beneficial social service for millions of poor Indians because of its ability to give them hope.

Soul Kitchen
SPOILERS

I think Head-On is often considered the lesser work - there's a lot of talk about The Edge of Heaven being more mature.

*can assume