This week I watched Ant-Man, Justice League: Gods and Monsters, and made my first foray into the world of porn with Radley Metzger's The Image.

This week I watched Paris, Texas and The Howling.

I saw it for the first time a couple of weeks ago, and generally enjoyed it. Some of it was a bit weird for weird's sake, and the ending is a rather ballsy take on "it was all a dream", but I thought it was full of good, interesting stuff.

I think it's more accurate to say that at one point they could sing, but now they can't.

I've heard Blood and Roses is very good, but I didn't think much of Barbarella, and …And God Created Woman had moments of brilliance but was mostly average.

With Barbarella, and Vadim in general, it seems he was great at bedding sexy women, but not so great at making movies with them.

This week I watched The Incredible Shrinking Man. It's quite good, with effects that are mostly stunning (if a little old-fashioned) and some interesting character stuff to boot. The sequence in the basement is just terrific, even if the movie has some hiccups along the way to get to it. Jack Arnold's insistence on…

I quite liked Viola so I'll probably watch this if I can. It would be interesting to see Pineiro make a longer film than 60-odd minutes though.

I've never really been much of a Horner fan, but he definitely defined the sound of '90s movie scores, and that's a pretty impressive accomplishment.

Yeah, that's a good point about Joy-like characters. Joy is definitely one of the less-obnoxious ones I can think of, though.

This week I watched Ted, Burying the Ex, Rosencrantz and Guildenstern are Dead, Jurassic World, Inside Out, A Damsel in Distress.

Actually, a Bluray is coming out soon, I think.

I haven't seen Birth. I wasn't a big fan of Under the Skin, though.

This week I watched Lust, Caution and Valerie and Her Week of Wonders. Both were pretty good.

I like your taste in Simpsons images.

I love the description of "non-realistic realism" for Fassbinder's movies (at least the ones in this mode).

Yeah, it was her. To clarify, the production worked brilliantly on-screen, but I felt her performance seemed a bit too big (though now that you mention it I don't much like her on Game of Thrones either).

I'm pretty sure this was the same production, then. Perhaps Tamoras performance is one that works better on-stage than on-screen?

The difference for me is that Hamlet knows the score early on and is pondering and scheming through the play. Titus, I think, figures out what is going on too late, and it means there is less time spent on his pondering and scheming.

This week I watched Diner and Globe on Screen: Titus Andronicus.