The story of the food stall experience now has me thinking of a century scotch egg,

From my limited understanding HSPs involve fewer bitter recriminations and re-listening to the last voicemail over and over and over until one day you FUCKING IDIOT you press "delete" instead of replay and its gone forever the last time her voice would sound sweet when talking to you instead of that edge it has now…

In London, some (better) kebab shops will do a lahmacun (basically Turkish pizza) wrapped around a chip (french fry) filling, usually with a sauce and they'll ask if you want salad boss, but you'll say no, no, no salad, just extra chilli sauce thanks mate and someone will inevitably ask what the fuck is that mate and…

I'm surprised that more white guys in positions of power don't just say "fuck you" whenever stuff like this comes up. I guess the arrogance could mean some of their millions stop flowing, but big picture, the system's on shaky ground so bet the bank, baybee!

I was speaking more from a "meta" perspective, or the perspective of the creator - which I have a hard time separating from "characters" and "plot" at the best of times. I understand what Blair was trying to do, but his beginning didn't warrant the ending. I guess I want to see something that's more than filmic…

For me the tonal dissonance - and I guess whence the Coen comparisons spring - comes from the disparity between the inciting event and the film's end point. "Blue Ruin" is heavier, but you can understand the protagonists reaction even if you don't condone it; "Green Room" plants its lead characters in a 'do or die'…

But how do you really feel?

MP is a film made by someone afraid of silence, a silence they've embraced when making BR. That's sounds pretentious, but really, BR is held together by Blair's spot-on performance and so many dialogue free scenes of him stalking, preparing, and waiting, making whatever comes later all the more powerful.

Totally agree. "Blue Ruin" was a revelation, "Green Room" was a decent slasher film. With Blair's debut, if I weren't aware of the pedigree, I'm not sure I would have persisted to the end and I certainly won't be telling everyone I know about it the way I did with "Blue Ruin".

So much so that in Britain it's called the "Australian Question Intonation".

Me again. Watched the first two epsisodes. Je vous remercie de la recommandation! You're right, Kassovitz is great!

Thanks for the tip! It's bad enough keeping up with English language TV, now we're got all his foreign gold to contend with as well.

I guess he's less known if you're talking about outside of France, but in French cinema, while he may have waned a little, for a bit Cassel was top of the heap. Kassovitz is an odd one, but when he makes a film he really makes a film. Rebellion in 2011 was fantastic - as was Crimson Rivers many years ago now. Given…

This is (arguably) the right film for this year, but if "The Fugitive" is an action film then so is "Heat" - otherwise you're just working with alternative facts.

1995 was the year "La Haine" was released. Living in Paris one step away from sliding into teenage delinquency meant you were living it. I doff my beret, monsieur.

I initially read that as "they'd make me leave the room when they SHOWERED"…

Mikael Åkerfeldt? The movie would be 4 hours long and go through 10 tonal shifts, yet still be acclaimed by fans and critics alike.

I think nowadays you'll find it's likely "bloody refugees" or "farken Muzzas" like most everywhere else on the planet.

Short of the sphincter.

You're missing sausage and bacon - and I bet we could squeeze some bubble and squeak on the plate, go on…