Beautiful I.B. Technicolor print of Prime Cut (Michael Ritchie, 1972) at UCLA Hammer on Friday and Jean-Pierre Melville's Le Samourai in a lustrous 35mm print at the American Cinematheque on Saturday evening. The Prime Cut screening was part of a series based around a new book of film criticism reviewed by the AV…

Thank you for bringing that up. I'm sick of people giving that smug idiot a free pass.

Republican "comedy". See also: Gaffigan, Jim.

TenNapel is an Evangelical shit, and this is well-known. His graphic novels suck, too, BTW.

C+ seems ridiculously kind for the kind of bullshit this film sports. People on Lettrboxed are comparing it to Shyamalan's AVATAR and FANTASTIC FOUR Version 3.0

American morning radio is pretty much the 10th circle of hell. How these "personalities" continue to get away with this bullshit year after year is a complete mystery to me

People Shepard collaborated with: Bob Dylan, Wim Wenders, Michelangelo Antonioni, Jessica Lange, Patti Smith

David Mamet

Simply one of the most significant American writers ever, and an incredible screen presence, too. My god, what a loss

HBO already made it in 1993. It was called Hotel Room, and David Lynch produced it

Who the hell are they blackmailing at HBO in order to keep getting shows greenlit?

Wrong opinion

Peter Greenaway's hypertext take on The Tempest, Prospero's Books, in 35mm at the American Cinematheque

They deserved a modicum of respect until that tag turned into a Dave Matthews Band/Phish/Bruce Springsteen fanzine

Beyond him, Gunter Grass, and John Irving, I don't think any fiction writers have graced the U.S. edition of Time in the last 45 years

See also Rob Sheffield, whose patronizing attitude towards Rolling Stone's readership made me abandon that rag about 15 years ago

Is Kakutani a racist like Christgau? I don't think so

It's definitely too clever for its own good, but Archie is a great character. My god is the ending stupid, though

White Teeth is great, save for its stupid final 3 pages. NW is unreadable (or rather, unlistenable, as I hated the audiobook)

It really is a great film, and the late Richard Franklin was one hell of a director. It's an extraordinarily clever subversion of what one thinks a sequel often tends to do, and what makes it so beautiful is that it's both its own beast and a great statement on why Hitchcock's works so well