Wrong aspect ratio is the real problem: 4:3 movies these days are often improperly letterboxed to at least 16:9, e.g., I saw Carol Reed's The Man Between in full-frame long ago, but every print I've seen since has been in 16:9 and looks terrible.

Blue Nile's 'Tinseltown in the Rain' is pretty pretty good.

Thanks for clearing that up DH. I thought that it was Tally's apt (hence her offer of the fat joint etc.), but I guess not.

So, Tally turning out to have the apartment above Jessa and Adam's was out-of-nowhere, right? (Hannah never says anything 'This house looks familiar'-ish before the reveal.) Or did I miss something?

TD also did the nifty keys on Joan Armatrading's 'I'm Lucky':
https://youtu.be/_LajFymr7L4

Agreed, Christine and the Queens to end was *awesome*.

She's got competition from John Huston's Noah Cross in Chinatown and maybe a few others, but, yeah, Lansbury's Mrs Iselin is up there.

Complaining *at all* about 'the romance not going anywhere' or that Rosie/Janet Leigh doesn't quite make sense seems small-minded. Speculating about whether Rosie is in on the conspiracy/Marco's controller is one of the great pleasures of the film!

The In Memoriam didn't include Setsuko Hara, star of Ozu's Tokyo Story, Late Spring, etc., and one of *the* faces of World Cinema. Oscar-winning DP of LOTR and Babe, Andrew Lesnie was also omitted.

We need the eggs?

Tough, but fair. There's a hell of a lot of neuro-gobbledigook in the Humanities these days and this is a prime example of the form. At the very least the writer needed to be clear that none of Von Trier, Arnold, Ramsay, etc. have any knowledge of or serious interest in neuroscience so that any attempt to enlist their…

Yes, that first song ('The Sound'?) sounded exactly like Go West (only with a less distinctive singer), catchy but slightly sick-making.

I watched Private Benjamin for the first time recently…and it was *awful*; extremely unfunny and wavering in tone. Hawn's great in Sugarland Express (1974) and Shampoo (1975).

And 'Get On The Floor', one of the mightiest dance tracks of all time, was track #4: https://youtu.be/ierY2nOVX64

Gosling did a pretty good McQueen in Drive.

Hmm…the Sound Opinions guys raved about this album. To Spotify!

'Last Night' from Lovelife is even more of a standout in my view. Not shoegaze but not pop either, it felt like the moody soundtrack-music way forward for Lush at the time. Given that that was in tune with where Radiohead, Primal Scream, etc. were headed, it was really too bad that Lush broke up when it did. Glad it's…

I yield to no one in my hatred of Love, Actually, but the Thompson/Rickman storyline was great. So, no Rickman can't save the movie but his bit in it is easily best in show, and if you were trapped on a date with someone who loved the film it was a life-preserver of potential grounds for agreement to be fiercely clung…

When we're still in shock at the end of Se7en, 'The Heart's Filthy
Lesson' fades in over the first credit - 'KEVIN SPACEY as John Doe' - as the
rest of the credits begin to roll the WRONG WAY and madness-inducing
guitars and piano tumble in. Brilliantly malevolent.

That's a great example. And The Crying Game is a *much* more interesting film than Carol. Bottom line: if something as ambitious and interesting as Angels in America had been a (two-part) movie rather than an HBO mini-series, it would have romped home at the Oscars (just as it did at the Emmys). Carol's just a little…