Hey Mike! Fair play; as I say I haven't seen the film, so if you feel like the protagonist isn't shown in the kind of layered ironic Lolita sense I'll take your word for it. Humbert is seductive, though, superficially attractive, isn't he - the poise, the humour. Makes the cracks in the mask a bit more chilling.

Sounds like that JD Salinger short story, what's it called, something something Bananafish. Although the cross-generational aspect of that relationship is made retroactively weirder by how it ends.

Assuming that Pizzolatto is going to keep exploring themes of masculinity and violence (which given his track record he probably will, despite the sops he's thrown critics about female characters) I think this is actually really interesting casting. Vaughn's made a career out of playing a kind of male archetype, like…

I love this shit, this shit gets me hard. (Missing Justified). Anyone read C by Tom McCarthy? Some interesting chat about short-wave radio in that, as I recall.

Strange one - I saw it at the cinema and found it really moving, a great insight into contemporary Ireland without being either sanctimonious or deliberately glib, which are the two tones 'state-of-the-nation' type stuff usually falls into for me. But thinking back on it now after reading this there were some wildly…

Pelham Grenville Wodehouse. What do I win?

Maybe I'm being unfair there, and I certainly haven't seen all of his late-period flicks. What I mean really is that the wife in Midnight in Paris seemed like an extension of less cartoonish female characters in his earlier writing; I mean, why would Owen Wilson even have married a woman who appeared to have no…

I dig his work ethic, he obviously loves what he does, but he's rinsing the same themes in diminishing circles for me. Kind of tarnishes the old ones a bit in my eyes, tho that's a stupid response really.

I feel like Woody Allen's 'late-career renaissance' is something that's been pushed by some reviewers, but I'm not feeling it. I thought Midnight in Paris was just embarrassing, using the likes of Hemingway and Dali for one-note gags was such a wasted opportunity to do something actually engaging with the idea.

Thanks for the crash course in Bresson everyone! Will definitely check some of these out. Although, no thanks for making me pick at the delicate scab that's formed over the gaping wound of my general ignorance.

Great review. The intimacy of the pickpocketing scenes made me think of Jean Genet, but the ending seemed to dismiss the idea of nobility or pride as an aspect of crime. Can anyone recommend another of Bresson's films? Diary of a Country Priest is meant to be the business, right?

Whatever about the dubious provenance of his 'memoir', the random capitalisation of words throughout it was just the most annoying literary device. I still don't really understand what it was meant to signify. "Alone with my Family, alone with my friends, alone in a Room full of People" - NO NO NO

"You're trying to say something a little meaningful but you're also talking out of your ass at the same time" puts it well. Eh, I go up and down on the Before movies I guess, but I loved Boyhood.

I've just got hold of a copy of Waking Life, looking forward to checking it out! There's no doubt Hawke sells the energy in the Before series, but I just found the precepts behind much of what he was saying grating … probably an element of the narcissism of small differences in my gut reaction, if I'm being honest.…

I found the cod-philosophising in Boyhood funny and sweet because it was coming from a teenager, and man did I talk some shit when I was a teenager, but it really grated on me in the Before films (the first two, I've not seen the third). I like Ethan Hawke's silly face but his chat annoyed me. Does anyone more…