I remember trying to find a good MIDI to MP3 converter way back in the mists of 2001. It was really hard, and I ended up having to download a whole bunch of soundfonts.

Playing up the religious elements could be really effective, and makes a lot of sense when transposing the material to an American setting, but that trailer makes it look really, really unpleasant. And far more torture porn-y than the original.

I think it's a good film, though I would say that the non-gory violence it contains is far, far more unpleasant than the gore.

I talked about this above in more detail, but I really don't think Martyrs qualifies as torture porn at all, particularly when set against something like Hostel. I also don't think it bares more than a passing resemblance to anything that can be called a Grand Guignol splatterfest.

I totally disagree, I actually think the content and tone were completely in line with what the film was trying to explore. Any film that was only interested in shocking the audience with graphic violence against pretty women wouldn't have consciously dialled back its violence halfway through.

I will never understand how NBC's Standards and Practices department was A-OK with the sight of somebody's throat being bitten open (and the resulting arterial spray) but insisted on blurring the breasts on the classical paintings glimpsed in the opening episodes of Season 3.

It's amazing and it isn't even the best line. Both "Stations Of The Mall" and the Bresson reference are so damn good they should immediately qualify Ignatiy for a MacArthur Genius Grant.

Silent Night, Deadly Night is a nasty piece of work, in its way as perverse as the grimiest roughie ever to grace 42nd Street.

That Check Your Vinyl Signs turntable is the perfect gift for anyone who feels like wrecking their brand new Army of Darkness records!

Eh, it's no 'Vengablood'. Neil Cicierega has already cornered the market in Vengaboys-based aural abuse.

I was never a commenter there, but Gameological was one of the best website communities ever. Engaging, thoughtful, respectful. So many great discussions.

You can archive the software, sure, but you also have to archive the technology it runs on. And all the other software it relies upon. Emulation isn't a reliable backup here either, some elements of the original hardware can't be properly recreated.

I obsessed for days over the wrist-cam POV before I figured out why it seemed so familiar to me: it perfectly replicates what the world looks like when I'm drunk.

All the flaws of early television broadcast and the defects of poorly stored 16mm film in one easy package!

Oh I know. It's just that people who want to put out a proper release can't find the film elements required to do it. The best quality version available was released on DVD in France, but the print they sourced (while in great condition) was missing chunks of footage seemingly at random, occasionally rendering scenes…

No Water Power (apparently nobody has been able to track down usable film elements) but it is the only place you'll be able to see Fred Halsted's early gay porn masterpiece LA Plays Itself and the uncut version of Danish roughie The Blue Balloon.

Ever since I finally saw my first Rivette earlier this year (the amazing Le pont du Nord) seeing Out 1 has become a fairly urgent proposition, even more so thanks to this superb review.

The Abyss is one of those films where the making-of doco is infinitely more entertaining than the actual movie. And of course one of the most effective shots is one of the most low-tech - the shot of the Russian submarine compartment rapidly flooding. They just took a model of the compartment, and filmed in…

It would be so much more tolerable if he actually finished his sentences instead of just fading off. That and the way he keeps talking even as he runs out of breath are genuinely uncomfortable to listen to.

The pop psychology is the primary thing that makes the Saw series so execrable.