Yeah, but that's true of the modern culture in general. It's a miracle to get people to talk about even the latest YA romance let alone anything good. Some of this though probably is because the modern state of literature is fairly awful.

I have to admit at the very least that top cover has piqued my curiosity on the book it is for which does sound like my sort of thing.

Boo, admittedly it has been a while since I read a new book, but literature as an art form is still very relevant.

Avoid the post-houmous novels if you want to keep that opinion. His shorts are divine though.

Certainly Danilo Kis' Psalm 44 which was only translated into english this past year and was actually recommended to me by some very nice person from this very board. I'm not sure what I was expecting, but what I got is some crazy 'The Discreet Charm of the Bourgeoisie' as Jewish self reflection type thing. It's just…

I think they stopped creating new ones some time after 1996.

@Kumagoro:disqus They explain that away with an electrical shock.

But there's an equal Blu in Europe I believe.

Yeah, Wright discusses it in a commentary track.

Don't…extend a one joke premise.

A Mighty Heart was exactly what I was thinking of when I said middlebrow. Perhaps I've just seen the wrong movies by him, but even that middle eastern film he made suffered from a general sense of safety that just doesn't interest me at all.

I love how desperate Mike clearly was to be able to say anything that he spends half the review musing about all of the possible movies this title could have given us instead.

Who likes Winterbottom? He consistently strikes me as one of the least interesting middle brow directors working today yet his films never seem to hit with that audience so who is it hitting for?

What's your name boy?
Aaron A. Aaronson.

He's certainly amongst the top ten english language directors. Only really Fincher, Carruth, Cronenberg, both Andersons, and Nichols are as consistent. If other cultures are added in he'd probably be pushed out, but that's still good for a comedy director in this day and age.

Even that version can't take away from the power of the original.

You forgot Pain and Gain which is easily my favorite of the year thus far.

Still it can't be said enough that Weir and that film are great.

I'd say that Wright since Spaced keeps the frame so densly layered in jokes that it almost becomes a sensory overload with only his tendency for a more classical shorting style outside of montages keeping that at bay. In any on second on the soundtrack, in the dialogue, and on the screen you'll have a good two or…

I am probably the only person this is true for, but the similarities to The Wicker Man and over the small issues it is for kind of disturbs me a little to the point it's the only Wright film I haven't bought yet. It's silly of me, but the idea of The Wicker Man already creeps me out. Adding mundane pettiness to that…