Film Flare

Directed and Written by MICHAEL HANEKE

Starring MICHAEL PITT, NAOMI WATTS, TIM ROTH and BRADY CORBET

The first time Haneke makes it very clear that this is not your average horror/thriller is when a calm (and rather snobbish) game of guessing opera songs is suddenly interrupted by the most annoying heavy metal piece of music you can imagine. The loud, unbearable screams will have you reaching for volume control, maybe even wanting to stop watching the film. It will shock and make the average viewer uncomfortable from the start, with a feeling that standard rules of filmmaking might not apply to Funny Games. And he would be right.

The film is simply about two young men who take a family hostage for one night – or about a family being tortured by a couple of psychopaths, depending on how you look at it. It's not unusual for the audience to get attached to the villain, even when they're vicious murderers. This normally comes from them being three-dimensional, having a side of them that we can identify and empathise with, or even admire. We hope they succeed, or at least that don't get caught just yet, even though we solemnly condemn their actions.

But Peter and Paul are different – there's no grounds for sympathy, no sad back story to stir any compassion from the viewers. We know nothing about them apart from their fondness of killing for no other reason than entertainment – our entertainment. So the question is, are you entertained?

That's why we're playing cat in the bag. To preserve moral decency. – Paul

Slashers have been around for a while now, but the question of why people enjoy them and any other kind of death/torture on film remains an interesting and relevant question. On the subject of death and violence, Haneke himself has noted that we're fascinated by it, even sometimes in real life, because we're not directly concerned; like a kind of line that disables any emotional connection. In movies that line is what separates life from fiction, them from us – a matter explicitly referred in one of Funny Games's final scenes.

So if there's no link between the film's fictional events and the reality of our lives, we're not affected by it, not really. But with Paul breaking the fourth wall again and again, directly addressing us, we're no longer outside looking in – we become part of the game. But more than choosing sides, we're forced to say to ourselves why are we still watching this movie, and most importantly, why are we enjoying it so much?

Of course not everyone enjoyed it: for some its apparently gratuitous violence is unbearable or condemnable; while for others, Funny Games is not violent enough, it actually fell short of their expectations. Interesting, isn't it?

I get it. Isn't that enough? – George

Well the latter do have a point, at least when it comes to physical violence: all of it is shown off screen, except when it is committed against the perpetrators. --- SPOILERS AHEAD ---Even such an important scene as the kid being killed happens while we're watching Paul prepare some sandwiches in the kitchen. He even seems to joke about it with Peter when asking Don't you have any sense of timing?.

Further ahead, in one of the film's most famous scenes, Paul will literally rewind the movie he's in to prevent Peter from being killed by Ann. In another scene he exclaims Bravo! after Ann begs to God to keep her safe through the night, in a way that we'd probably say it later about Naomi Watts's performance. --- IT'S SAFE AGAIN ---

All these details make Funny Games both disturbing and genius, and have us feeling like we're part of some kind of experiment. On my first watch I went through hell with this movie, and was mostly shocked by all these devices; many of its shots and lines stayed with me long after the credits rolled, forcing me to think about them every once in a while. They pushed me to see the film again, but it's the nuanced acting and writing, and the unveiling of more brilliant details with every watch, that will keep me coming back to it.

And all of this just for a carton of eggs.

NOTE: Before we dive deep into June's many movies, I'd like to bring to your attention the beautiful romantic photography by Nishe – there's an exquisite delicateness to her work that is truly remarkable.

Though slow on the blog, June was rich in great movies – so many that I had to cut this list in order to maintain the post's readability. So with that in mind, note that Repulsion and La Cage Dorée, though absolute favourites, aren't featured below because I talked about them recently. You can find all the movies I saw in June in my Letterboxd diary.

Another brief thought on The Pianist, a film I've seen before, and was caught right in the middle of the watching of three movies branded as Great Films. It's an intimidating class that always instills huge and sometimes erroneous expectations, and never fails to fill me with the fear of not liking them. It does happen sometimes, but fortunately that was not the case with these. Let's start with the chilling Schindler's List.

SCHINDLER'S LIST

Directed by STEVEN SPIELBERG, in 1993

Starring LIAM NEESON, RALPH FIENNES and BEN KINGSLEY

Keeping with the Holocaust theme while I still had the guts for it, Schindler's List seemed like the adequate film to follow The Pianist. They're two sides of the same coin, the latter told from the perspective of a jew, the former from the eyes of a german. Both powerful and moving, but while Polanski's speaks of desolation, Spielberg's dwells in madness and heroic efforts. From an aesthetic point of view, Schindler is the one that goes further – a striking black and white cinematography that resembles the documentaries I grew up watching.

I don't think I've ever been this disgusted by a Ralph Fiennes character.

APOCALYPSE NOW

Directed by FRANCIS FORD COPPOLA, in 1979

Starring MARTIN SHEEN, ROBERT DUVALL and MARLON BRANDO
A quiet and cloudy Sunday afternoon provided the perfect setting for watching the three hour and a half giant Apocalypse Now Redux. Surprisingly artistic and with mind-blowing use of music and sound, you're bound to descend into near-madness as the action slowly flows upstream, deeper and deeper into the jungle. You go through it all with the main character: the initial riveting surprise and distrust, the shock of the indifference of death, the fear of the insanity around you, the fatigue, the apathy, and the surprising thrill of the last minutes. It's every bit as grand as they say.

THE GRAND BUDAPEST HOTEL

Directed by WES ANDERSON, in 2014

Starring RALPH FIENNES, TONY REVOLORI, JEFF GOLDBLUM, etc. etc...

Perhaps it can't be said that I'm a true Wes Anderson fan. His aesthetic, his character's quirks, the creative writing – all of that I enjoy immensely. But all his achievements in these fields make me acutely aware that I'm watching a film, and more often than not completely prevent me from any emotional investment. I smile and I laugh, but it doesn't go any further than that – I am in awe, but not in love. The visuals dazzle me, but the characters are close to indifferent to me, remembered only by their costume and make-up, by the endearing weirdness in all of them. If this is the way it's supposed to be I can't say, but what I know is that it does not stop me from adoring Anderson's films.

So if you can feel them, I envy you.

MR. MORGAN'S LAST LOVE

Directed by SANDRA NETTELBECK, in 2013

Starring MICHAEL CAINE, CLÉMENCE POÉSY, andJUSTIN KIRK

I've mentioned this little movie in a recent episode of our podcast, and I would like to write about it some time, just like Last Night, so I'll keep this short. They are similar in their delicate portrayals of human relationships, even though the nature is quite different: instead of having a romantic couple at the center, Mr. Morgan's Last Love depicts the blossoming of a friendship between a widower and a young french woman who has lost her father. They find solace in each other, but there's an underlying darkness that is bound to reveal itself as the film reaches its final stages. It's a true bittersweet tale that will move those of you who recognise the beauty in it.

If you're german or french (or can read as such) and are intrigued, then you're lucky – the source novel is only available in these two languages. Fingers crossed for an english translation!

X-MEN: DAYS OF FUTURE PAST

Directed by BRYAN SINGER, in 2014

Starring HUGH JACKMAN, JAMES McAVOY, and MICHAEL FASSBENDER

Quite a change of pace, I know, but the latest instalment of the X-Men franchise deserves a spot in here as well. I can guarantee with some certainty that this isn't, and won't become, one of my favourite movies. Why is that? Watching this was incredible, I loved every minute, my jaw dropped ten thousand times, I was crying and geeking all over it. Every actor in it was at their best, the story spoke to me as X-Men usually does, I didn't even mind some of the taste-offensive CGI. I was on the edge of my seat the whole time, my eyes filled with wonder and emotions. So why wouldn't I have it in all my Top lists? Such a snob.

the tv shows of June

Last month british drama series The Fall and Luther were pretty much all I saw. I'd highly recommend both to anyone who enjoys crime thrillers with a british touch, whether about psychopath profiling (The Fall), or a passionate detective who's always in trouble and cultivates strange relationships (Luther). More on both in July, most likely. Last week marked the return of True Blood, and so far it's looking surprisingly normal - this just might grow into a good season.

the books of June

I never thought the ending of Life of Pi would get to me again, but it did. The movie stays pretty faithful to the novel, and I'm glad to say that the latter completely stands on its own in a reading-after-watching exercise. The words truly come alive, I couldn't put it down.

The second is a collection of short stories by portuguese writer Florbela Espanca, As Máscaras do Destino. One of the stories, O Sobrenatural, was my chosen tale for the Once Upon a Dream podcast episode. There's no english translation that I'm aware of, but if you know the language, is a wonderfully disturbing read.

The movie of June was Funny Games. Fun fact: Bringing Up Baby was on TV at one point.

Look, it's Cary Grant! #everythingisconnected

Today marks the 58th birthday of Hollywood's most beloved actor, Tom Hanks.
so Here's a Top 10 of my favourite hanks movies!

Still to see (1993 onward): The Great Buck Howard, The Green Mile, Cloud Atlas, Road to Perdition, The Lady Killers, Elvis Has Left The Building. Honourable Mentions: The Terminal, You've Got Mail, Saving Mr. Banks, Charlie Wilson's War. Celebrate!

got any favourites?

Now that I've had enough time to digest Lana Del Rey's new album, Ultraviolence, a better look at her two newest videos is order. The album is still pure Del Rey, but instead of catchy beats with a mainstream feel it has intensely atmospheric melodies and dark lyrics brought to life by the singer's ghostly voice. Though definitely not light nor for everyone, Ultraviolence is haunting, beautiful, and absolutely addictive. You can read all about some of the most tragic songs of the album over at billboard, one of which is a cover of Nina Simone's The Other Woman.

Accordingly, the new videos West Coast and Shades of Cool have a distinctive aesthetic style; and a closer look at both song and video can spot connections in what seems to be just two chapters of a larger story - or rather a motif: the theme of women who fall into unhealthy relationships (and even dream of them), that runs through the entire album. Here are some of the best shots.

WEST COAST

Directed and Edited byVINCENT HAYCOCK

StarringLANA DEL REY, BRADLEY SOILEAU andMARK MAHONEY

SHADES OF COOL
Directed by JAKE NAVA
StarringLANA DEL REYandMARK MAHONEY

Having seen over half the movies I set out to watch and having written about only a few of them, it has become clear to me that there won't be 100 List of Shame posts because there simply isn't all that much to say about all of them. Some have been briefly reviewed in Saturday Links and Suddenly, Last Month posts, but other's remain lonely Letterboxd diary entries.

So apart from some movies that I know I'll want to write about at length, most films will be "reviewed" at updates such as this one – because this thing can't happen just outside the blog! I've managed to sort most of them in little categories, but there's always that odd bunch that refuses to fit anywhere. Let's start with those.

NOTE: I'VE ALREADY TALKED ABOUT APOCALYPSE NOW, YOU CAN READ ABOUT IT HERE.

#09 Mr. Smith Goes To Washington, 1939 | 5.0/5

About a year ago I was all over James Stewart's filmography – it was the peak of my classic movies phase, one that sadly seems to have subsided every since oscar season. But winter is always better for those black and white gems anyway, don't you think? I can't say I loved loved loved Mr. Smith Goes to Washington, but its greatness is easy to recognise, as is the quality of Stewart's powerful performance.

#20 it's a wonderful life, 1946 | 4.5/5
The sky was cloudy, the afternoon cold, and that is the perfect setting to get comfy and watch It's a Wonderful Life. If you can get the people you love to sit with you through it, even better. I distinctly remember being moved by George's struggles, and smiling at his pure adoration for Mary. I don't remember much more, but for me this is enough to know I can't safely recommend it to anyone around Christmas time.

#63 the graduate, 1967 | 4.0/5
In my journey through The List of Shame I found that some movies don't quite strike me as hard as I was expecting them to at first watch. The Graduate was one of those movies. I found it immensely cool, I enjoyed seeing Dustin Hoffman in such a role, and I could see the allure of the Mrs. Robinson affair – but I was a bit out of it, to be honest. Perhaps one day I'll give it another go.

#64 2001: A Space odyssey, 1968 | 5.0/5
Not sure I know what all that was about, but 2001 is a hypnotising and beautiful film that has haunted me to this day. So, I'm gonna read some stuff on it, and get back to you on this one.

#72 rocky, 1976 | 5.0/5
After our Cool Guys Don't Look at Explosions podcast episode I learned two things: that Arnold Schwarzenegger can be rather appealing with his mouth shut, and positively hilarious when he opens it (I mean that in the best way possible); and that with Stallone it's the other way around. So the stage was set for a watch that has been a long time coming, Rocky.

I didn't think I'd like it – best case scenario, I figured I'd be able to see how good it was within its genre. But guess what, I LOVED it. I was completely into it all, rooting for Rocky, getting all fired up, finding his love for the girl adorable (no doubt that was there for the ladies), and close to raising my fist with him. AND, it was funny. I was shamefully unaware of Stallone's greatness, but then, that's why this is called The List of Shame.

CONFESSION:
I did fall asleep during that final match,
I'm guessing he won. I was really tired.

#73 carrie, 1976 | 4.0/5
Very creepy and very memorable, it really is a good horror movie.

#84 the breakfast club, 1985 | 4.5/5
Another one like The Graduate. I saw it, but I didn't see it. I guess it's like Anna Kendrick in Pitch Perfect: next time I watch it, there will be a grand awakening.

#98 fargo, 1996 | 4.0/5
And yet another one that wasn't mind blowing, but still honestly enjoyable. Great work from everyone in it, lots of laughs... and it is a great movie, yah?

Have you seen any of these movies? If not, shame on you!

[ THE COMPLETE LIST OF SHAME ]

FWeekly is just a fancy way to say week recap/link post.

It has titles too now, because experts say your attention span is really short.

You really should work on that.

pure fucking sex on a throne
This week's True Blood episode was so good. There was nothing crazy going on, everybody just slowed down, and that allowed for the richness of all the characters to come forth. We got deliciously hilarious flashbacks of Eric, Pam and Ginger when they still owned/worked at a video store; we got Eric making fun of Bill, and the latter accepting it gracefully just before realising his friend is sick; Moyer's face goes through it all. This lead to a couple of dramatic and endearing moments that we missed. so. much.

A MAD MEN SING-A-LONG
The cast ofMad Men recently celebrated the show's sad-may-it-never-arrive ending, and this is what we know: They sang broadway hits and songs from Frozen; they wished they were cooler; John Slattery has some Sinatra going on; Jon Hamm teared up when Anna saved Elsa (which basically gives every man permission to open up about it as well, so come out, come out...). As a bonus, here are25 Things You Didn't Know About 'Mad Men'.

THE FALL'S NEW TRAILER & SUPERNATURAL NEWS
My latest british tv/crime show obsession is keeping us fans on edge with a new provocative trailer for its second season. Looks great, and what a killer tagline. Meanwhile, the executive producer of Supernatural, Jeremy Carver, has released a statement about the next season [spoiler-free]: the Demon Dean storyline will be in full swing, together with the previously introduced werewolves, and Castiel will be trying rehabilitate his grace. There will also be Sam looking for Dean, a mysterious character on the same hunt... He also said Dean's demon self may be surprising to the show's fans. Sounds good to me.

COMPLETELY SPOILER-FREE, EVEN FOR NEWCOMERS

NEW RELEASES WITH A DASH OF CLASSICS
As for movies, this past week was quite strong: there wasn't a movie I didn't like, and most of them were actually really, really good. It started with Rocky and When Harry Met Sally; then I moved on to Trance, Filth, and since I was on a yummy accents ride, I went ahead and saw Locke, too. These made me eager to watch more 2014 releases, so I tackled Le Week-End (which reminded me of the 'Before' trilogy) and Grand Piano. And then topped it all off with a classic romance, The Bridges of Madison County. Sexy stuff.

It's hard to pick the best one, but Locke and The Bridges of Madison County are the ones that will most likely become all-time favourites. Grand Piano was, by far, the biggest surprise: I'm still not sure if I like it or love it, because it's such a strange format I'll need some to digest it, but I'd recommend it to those of you who like films that take risks.

bonus: Teddy Sears from Masters of Sex (it's back!) talks about his mom's reaction to the show.

THE BEST FROM AROUND THE WEB

- Alex lists the top 52 things he loves about No Country for Old Men, that no one talks about.
- Sati writes about Under the Skin, and though I haven't gotten around to read the post because I'm still finishing the novel, I'm sure it's a good read, as always.
- Nika from Running Reel (found a new blog!) shares her Top 10 Tattoos in Movies.
- Here's two entries for the Against the Crowd blogathon, Mettel Ray's and Karamel Kinema's.
- Mette reviews Insomnia, for her Alaskathon.
- And finally, Brittani loved last week's True Blood episode as much as did.

Today would be the 115th birthday of american author Ernest Hemingway. His novels were a source of inspiration for many films, some of which the following: A Farewell to Arms (1932), For Whom the Bell Tolls (1943), To Have and Have Not (1944), The Killers (1946, and 1964), The Snows of Kilimanjaro (1952), The Sun Also Rises (1957), The Old Man and the Sea (1958), and Islands in the Stream (1977). I saw a couple of them while going through my Gary Cooper phase (not so much a phase as a life-long affair, but let's not be dramatic); and To Have and Have Not is actually in my List of Shame, so that should be checked soon enough. I'm still warming up to Bogie, that's what it is.

In the graphic above is one my absolute favourite quotes from him; a way of living that has always been a part of who I am. Below are a couple pictures of Hemingway with two great actresses from the classic era of hollywood, Lauren Bacall (left) and Ingrid Bergman (right), who also starred in movies inspired by his novels.

What's your favourite novel, film or quote inspired/by Hemingway?

...ANNIE'S DESPAIR.

As I've mentioned before, I loved loved loved Spacey's work as Bobby Darin in the biopic Beyond the Sea. His performance included singing some of the late artist's most beloved tunes, and this week I had a much too late realisation about one of them, Artificial Flowers. It's not my favourite from Spacey's renditions (that would have to be the emotionally charged and beautiful The Curtain Falls), but it's one of Darin's most intriguing songs. I used to listen to it frequently and sway in response to its upbeat rhythm, revelling as always in Darin's unrivalled vigor, until just this week I heard this line: and instead of a halo she'll wear around her head a garland of genuine flowers.

Before tumblr girls were born, flowers crowns were for the dead - is Annie dead?! Yes. The song is about a nine year old orphan who sold artificial flowers, until one day she froze to death; her little hands still clutching her poor frozen shears; and damn it if Bobby didn't swing the hell out of it.

...Southern Vampire Mysteries.
This was meant to be the subject of a post for last Thursday (Anna Paquin's birthday) but I had three exams on three consecutive days - which was a new and joyful experience for me - so it was simply impossible to manage. Anyway it's as simple as this: as the end of True Blood approaches, I'll finish reading the novels because I have this insane hope that they will both be great and justify at some level the mayhem of the last few seasons. So before the finale I'll be in perfect shape for one last look at a series that I can't stop loving no matter what it throws my way.

...lip biting, what.
All of this because the trailer for Fifty Shades of Grey has at last been released. Over 100 million people have read the novel, and if you follow me on Goodreads you know I'm one of them. I read all three books, and if there was a fourth novel I'd read that one, too. I don't know what's more surprising: that people bother to discuss its quality, or how often moral slips into such discussions - it all seems terribly pointless to me, doesn't it to you? If people like it, let them be. I've always thought Fifty Shades was the Gangnam Style of books (remember that phenomenon...?), and the only reason why the hype hasn't subsided is the movie - which I'll see when it comes out on dvd, no doubt.

So, the trailer. It's all good and exciting, until we see the room and get a visual on the games Grey likes to play. I always feared they may be a little too much for the big screen: reading about it it's one thing, seeing it is quite another. I've mentioned this dichotomy in regards to the violence in American Psycho, but it can easily apply to anything that works better imagined than seen - especially if you want to get a good reaction out of it. There's nothing wrong with explicit sex onscreen; directors just need to be careful about how they do it, otherwise it can actually put us off and add nothing to the story or our enjoyment of it.

[ I've been told Secretary is a good example, have you seen it? ]

Of course in Fifty Shades the subject is skewed from the start because of how essential to the narrative sex is, but the same rules apply: you need to make it work as a part of the film, and be extremely cautious with the tone you use, especially when we're dealing with BDSM. The trailer didn't soothe any worries, but I don't want to be unfair as it is way too early to be having this conversation. So I'm really not judging anything for now, just something that was on my mind while watching Anastasia all tied-up and gasping. That and why did Dornan have to loose that fabulous beard.

By the way, I always look like a crazy woman laughing hysterically while watching the Graham Norton Show, but this almost made me pass out. Watch it.

The best from the web

- Chris Pratt french braids a girl's hair while doing an interview, when I can't do either of those things.
- I'm a spoiler freak and this didn't bother me, so I think you're safe reading the new intel on Hannibal's third season. Also, here's the complete season 2 blooper reel (the quality is not as good, though).
- Vanessa writes about what inspires her to blog and 10 things that go through her mind when she looks at Paul Newman. I share the feeling.
- Brittani reviews Child's Pose and does her entry for the Women in Film blogathon.

aND THAT'S ALL I COULD READ THIS WEEK!

WE'RE RECORDING AN EPISODE ON UNDER THE SKIN TOMORROW,

BE SURE TO TUNE IN THIS FRIDAY and share your thoughts below!

Directed by Alex Hardcastle and Robert McKillop
Starring Daniel Radcliffe, Jon Hamm, Adam Godley, Vicky Pepperdine, and Rosie Cavaliero

Here's something you don't see everyday.
Based on the works of Mikhail Bulgavok, A Young Doctor's Notebook is an unusual british dark comedy about a doctor looking back at his times as a young man working in a small russian hospital, and struggling with a morphine addiction. The most unusual thing about it? It stars Jon Hamm as the doctor, and Daniel Radcliffe as his younger self. As far as radically different people playing the same part goes, this one takes the prize. But as it seems it is intentional, and even provides with some of the funniest moments of the show – like Hamm saying did I really use to look like that?

Another peculiar aspect that makes this miniseries quite brilliant is the fact that Hamm says that line while directly staring at his younger counterpart: present and past coexist and interact with each other in such a way that leaves us wondering not just what we would tell our younger selves, but how would we react to such an experience – would you like what you would see?

I am the envy of every woman ever, Daniel Radcliffe

At first the series is charming and witty, with elements of gore and a very interesting dynamic between the leads. As it approaches the end of its first season, we get to know a bit more about the charming supporting characters, which are incredibly rich by the show's end, but also get a sense of the more dramatic moments that are coming: the doctor's morphine addiction is getting worse, and no matter how many times the present warns his past of the dark times ahead, the future is inevitable – that is the shattering statement of A Young Doctor's Notebook's second season.

For all the hilarious and surreal moments throughout, I would never guess just how dark and emotional this series could become in such a short span of time. The mood changes in an instant, and before you know it, you'll find yourself moved by the older doctor's struggle to deal with who he was.

--- SPOILERS AHEAD ---

As season two plays out, the old doctor's regrets and feelings of helplessness in the face of his younger self's addiction (which he still has in the present), will slowly turn into anger and even force him to give up on trying to save himself. In one of the series's most dramatic scenes, the young doctor hits such a new low that he propels his present self to say I tried. I tried everything, to like you, to love you, even to look at you. But I'm finished. You can go rot in hell. Jon Hamm delivers this devastating line with such disgust and sorrow that it honestly left me speechless.

--- IT'S SAFE AGAIN ---

It's a real treat to have two fantastic actors such as Jon Hamm and Daniel Radcliffe working together. For all their differences they share a great talent for both comedy and drama, seemingly keeping up with show's frantic mood swings with grace and ease. In just eight episodes, A Young Doctor's Notebook gives you the warmest and coldest of feelings, but what doesn't fluctuate is your sheer fascination for every single episode.

Suffer, because this is far worse.

It will take you to a lush meadow in the height of summer.

You will lie down in the soft grass, and bask in the sun and feel nothing but bliss.

And you will never want to return to this frozen piss hole in the snow.

- the older doctor, about morphine

This month on French Toast Sunday it was Steven Spielberg's turn to have his work celebrated. I took this opportunity to catch on three essentials from the director that I was missing: E.T. the Extra-Terrestrial, Close Encounters of the Third Kind, and Raiders of the Lost Ark. You can see the full list here, from which I'm missing only two: War Horse and Empire of the Sun. It ended up being a top nine rather then a top ten because I couldn't decide between Lincoln (liked it, but I find it a bit forgettable), Close Encounters of the Third Kind (as much as I love UFOs, I thought the last third of the film a bit of a bore, and dated), and Artificial Intelligence (which I think I like, but it's been too long).

#09 catch me if you can, 2002
It's not easy to pick the last place because honestly, these are all movies that I really like. But of all of them, Catch Me If You Can is the one that I can't quite remember enough to be completely sure about its place. There are, nonetheless, scenes that one can never forget: Frank wetting the planes in the bathtub to take out the Pan Am stickers, pretending to be a lawyer in court, arriving at the airport with the girls, the phone call and the airport meeting with Carl, Amy Adams as the sweetest nurse... do you concur?

#08 SAVING PRIVATE RYAN, 1998
Impressive and brutal, it is a great war movie, but... to me it can't beat the magic that will follow.

#07 war of the worlds, 2005
I can never quite believe the ratings, this is one of the most entertaining films, ever. Seriously, I'd watch it everyday. Aliens and Tom Cruise? Never fails. It's scary (the car scene stills makes me anxious), gripping, funny, and with some beautiful and impressive imagery. I defended it at length in our podcast episode, The Earth Dies Screaming, but basically, I'm a UFO geek, a sucker for terrifying sound effects and majestic shots. Robbieee!

#06 minority report, 2002
Besides being crazy entertaining and thrilling, Minority Report has a brilliant concept that I still think about from time to time. And it is often referenced in Law School (because, you know, arresting someone for a crime he hasn't committed is shady at best), so it's legit. And Samantha Morton never ceases to amaze me.

#05 RAIDER'S OF THE LOST ARK, 1981
I saw this one just last night and it was so much fun. As someone who is addicted to the Tomb Raider games I don't know how it took me so long to see this.

#04 e.t. the extra-terrestrial, 1982
I thought I would miss part of the magic for watching it at this age, but I was so wrong. E.T. is great for both kids and grown-ups, and has one of the most beautiful cinematography work I've ever seen.

#03 schindler's list, 1993
This is quite the change of tone, but unlike Saving Private Ryan, Schindler's List got to me. It's disturbing how beautiful a movie about such a sickening topic can be. I wrote about Schindler's Listhere.

#02 jaws, 1975
It's incredible how Spielberg has a movie for every geek obsession that I have - dinosaurs was most likely caused by Jurassic Park, but UFOs and sharks were prior to these viewings; do they come together, or we soul mates?

So no, it doesn't really matter if it's not as scary today as it was in the 70s (though I did shudder a couple of times because that shark is HUGE), or if the shark is clearly not real, because for one, it's still super entertaining (this is getting repetitive, but it really is the best adjective for Spielberg's films!), and I actually prefer animatronics to full CGI.

#01 Jurassic Park, 1993

It's no secret that I love this movie to bits. Dinosaurs are my (and everyone who was born in the 80s/90s) thing - I even considered becoming a paleontologist once (who didn't?).I wrote about the film a bit here (maybe you can translate it), but like with all movies that we love, it's a little hard to talk about them. Yes it's pretty damn perfect execution wise – if I look at it objectively, I don't think I could ask anything more from it; but that doesn't matter because this is never a rational experience.

Every time I see it I am filled with wonder and joy, and I'm every bit as scared as I was the first time around: I still hope they won't get out of the car, that Lex won't scream, that Ellie can run fast enough, that the velociraptors won't eat the kids, and that someone please please please stop Dennis. Idiot.

what are some of your favourite Spielberg movies?

tv shows of the month
Summers are always a bit slow for series, but you can always count on Suits, Masters of Sex, and True Blood to be around. I've been having some trouble with watching TB episodes because I don't want it to end, something that has never happened before. Somehow whenever a show ended I was just happy or not really that invested in it; but now that the episodes are getting so good and that I'm reading all the novels, I'm so into it that it takes me a couple of days to see the newest episodes - goodbyes really do suck.

The books of july

This time of the year may be weak for television, but it sure is strong on books.
I started the month with Extremely Loud and Incredibly Close, the source novel for a film that deeply moved me. Following the kid around with his constant overthinking can get a bit tiring after a while, but in every chapter there's a precious gem waiting to surprise the reader - whether it is a provocative thought, a lovely happening, or a shattering truth.

Then I read Under the Skin for our podcast episode on the film. This was one of the most refreshing books I've read so far, and a truly gripping read. The first few chapters master the art of mystery with wonderful tension, while the second half floors you with thought-provoking concepts, just before shifting to a thrilling action narrative one last time.

July was also the month I finished Lolita (finally!), and the last chapters got me wishing I had never put it down: it starts out good and ends even better, but somewhere in the middle I got lost and stopped for months. Maybe someday I'll pick it up again and find in it a different, even stronger book. Lastly, I started The Southern Vampire Mysteries just in time for the True Blood finale. At first I was just curious to see how the books compared to the series (did all that crazy stuff come from Charlaine Harris's mind??), but now I'm positively addicted. They're fast-paced, funny, sexy, and have some pretty interesting notions behind them, which is what I always loved about the show - it's a clever story in disguise. So far I've read Dead Until Dark, Living Dead in Dallas, Club Dead, and Dead to the World. They're perfect for summer reading. You check out the progress of this reading in the sidebar!

my favourite films of the month
July is quite possibly the month where I watch the biggest amount of movies: with exams almost every week, it is the best way to relax and stop thinking about the gigantic amounts of information I just gathered, without loosing too much time and rhythm. As a result, I watched a total of 26 films last month (eight of which were re-watches), and a lot of them were pretty good. My favourite new-to-me movies of July were Rocky, Locke, Le Week-End, The Bridges of Madison County, Grand Piano,E.T. the Extra-Terrestrial, and Raider's of the Lost Ark. As for re-watches, the biggest surprise was undoubtedly the underrated 2005 film, Prime. I've written/talked about all of these already, so no mini-reviews this month!

wHat you might've missed
- A List of Shame update with thoughts on eight movies, from 1939 to 1996.
- An article on the british dark comedy miniseries from 2012, A Young Doctor's Notebook, starring Daniel Radcliffe and Jon Hamm - as the same character!
- My entry for the Spielberg in July web event, where I write about my favourite movies from the director.

what to expect in august
- I'll be finishing The Southern Vampire Mysteries and revisiting old True Bloodepisodes, but I'm not sure I'll able to write posts about them. Either way, I'm planning of publishing an article on the series and novels as a whole on the 24th, the sunday of the finale.

- This will be the month of the Emmys, and I'm already catching up on a couple of series/miniseries I was missing on my repertoire, so when the time comes I'll be ready to share my favourite nominees and adequately rant if they don't win.

- Quentin Augustino is happening, and as always there will be FWeekly posts and a LoS update. Anything in between is a mystery! Shark Week...? Definitely something Cary.

---- have you seen / read any of these films, shows or books? ----

Elina from the blog Films and Coke picked me to carry on the Six Degrees of Separation blogathon by Nostra. The challenge here is to link Pauly Shore to Elle Fanning in less than seven steps. Took me long enough because Pauly's filmography sure is... peculiar.
But here it is:

Pauly Shore was with Chris Penn in Pauly Shore is Dead (2003);

Chris Penn was in the CSI: Miami episodeGrave Young Men with David Caruso;

David Caruso was with Elle Fanning in the CSI: Miami episode Death Grip.

Maybe using CSI is a bit of a cheat because everyone has been on that show, but really, Pauly Shore?? Now Nikhat from Being Norma Jean is up next and, taking a turn towards the classic era, she'll be linking Elle Fanning and Rita Hayworth! Obviously I had planned on picking Cary Grant, but a quick glance at Fanning's movies showed that it would be waaaay too easy. So good luck!

Born on August 13th, 1962

John Slattery is of course, by now, better known for his role as Roger Sterling in Matthew Weiner's acclaimed series Mad Men; but if you're curious enough to want to check out some more of his work, you can also see him as a guest star in shows such as Will & Grace, Arrested Development and Sex and the City, starring in lots of films from the 90s, and in two that I have yet to see - In Our Nature, and Bluebird - have you? Most promising though, is his recent feature-length directional debut, God's Pocket (with an impressive cast that counts with Philip Seymour Hoffman, Christina Hendricks, Richard Jenkins, and John Turturro), after having directed five Mad Menepisodes. I hope this means there's still a lot to see from Slattery.

BORN ON AUGUST 13TH, 1889
I've written numerous articles on Hitchcock and his films now, and since I mostly write about what I like, it's easy to guess that I LOVE this man. My least favourite film of his so far is Frenzy, and even this one was an eye opener when I first watched it. I've checked almost all of his most acclaimed pictures, but there's still some that I need to see asap, such as Lifeboat, Marnie, The Wrong Man, and The Man Who Knew Too Much.

As I watch more and more of his films it gets increasingly harder to rate a complete top 10, but this post on my Five Favourite Hitchcock Masterpieces still stands. They are Notorious, Rear Window, Psycho, North by Northwest, and Vertigo. To those I'd now add the deliciously dark Strangers on a Train, the haunting Shadow of a Doubt, the clever boy Rope, and the peculiar Dial M for Murder. Less powerful but still beloved are Suspicion, The Birds, To Catch a Thief, Spellbound, Rebecca, and Torn Curtain.

Here are some more Hitchcock-themed posts:
Hollywood Couture: Rear Window, The Great Recasting: Mr. Brooks (where I re-casted the average Mr. Brooks with Hitchcock as a director and some other classic actors), Great Villain Blogathon: Johnnie Aysgarth (from Suspicion), and The 'Sons of Bitches' Snubathon (where I rant extensively about his lack of Oscars).

WHAT DO YOU MOST LOVE ABOUT THESE TWO MEN?
AND HOW WEIRD IS IT TO SEE HITCH BLOW A KISS?

Back from summer break!
This month there will be no Suddenly post, because I've done next to nothing movie wise except watching True Blood in the last four weeks - so I'll write a bit about September below. The only movie I've seen, apart from the three for our Robin Williams special episode that you can catch on Wednesday, was A Serbian Film. Half of it. And trust me, you do not want me writing about it. I talked about the film in our podcast, and that was enough.

And the winner is... The Colbore Report!
On a brighter note, it was Emmys week, and I was pretty excited until it dawned on me that it was Breaking Bad's evening, which I haven't seen but oddly already love. Apart from the predictability of some categories and the disappointment of Freeman and Cumberbatch not being there, I was absolutely thrilled to see both Jimmy Fallon and Stephen Colbert win! The former's SNL guest episode was hi-la-rious, and you all know I live for the Report. Besides breaking up with his imaginary friend, he gave the funniest speech of the night with Jimmy's help. They're the cutest together.

source

I was also immensely happy to see Cary Fukunaga win for his work in True Detective, and Allison Janney for Masters of Sex. Now the Robert Morse in Mad Men situation is just confusing, was it the first half of the seventh season that was up for votes this year, or was it still the sixth season? They showed a scened from the 7th, but isn't it a bit tight date-wise? If he lost to Scandal's Joe Morton after everything Morse did on the show and that singing-dance number... no.

robin williams. what a concept.
The In Memorian was especially upstetting this year. Not just because of Seymour Hoffman and Williams, but also due to the countless others whose death I didn't know about. The names kept rolling, so many actors from the classic era that I've grown to love and admire kept coming up on screen, and each of them hurt a bit deeper. Billy Crystal's tribute was beautiful. Below is the quote of the day on Goodreads on the day after Williams's death, and I'm pretty sure it was intentional since it refers to Anthony's suicide. It rings very true.

The breaking of so great a thing should make

A greater crack: the round world

Should have shook lions into civil streets,

And citizens to their dens.

― William Shakespeare, Antony and Cleopatra

cry on my jacket, you're paying for it, sweetheart.
Finally finished the Southern Vampire Mysteriesnovels, and I thought they would never end. They get so bad, it makes the show look like perfection. Anyway I liked the finale (Ginger + Eric alone made everything worthwhile), except for that happy-future montage which was so unlike True Blood. To have a show this irreverent end with a sappy, sparkly dinner where everyone has found their soulmate is just stupid. But more on all of this later, because for the past three weeks I've been re-watching the series and there's something about knowing where it's heading that makes it better; maybe I'm just cherishing the calm before the storm.

I'm now in season four - so, obviously, I'm still loving the hell out of it - and, besides realising I didn't remember half of what happened in all those old episodes, I found that I'm liking things that I didn't care much for back when I first watched it - like the witches. That's why I feel like I can't talk about the show until I'm done. By my calculations I should finish it sometime in the middle of September, so there will be a week (most likely 14th-20th) where I'll write about the show as a whole. And I also have a couple of fun lists in mind.

the best from around the web
+ Sati lists 10 actors she would see in just about anything and I totally agree with her picks.
+ Mettel shares 10 things she loves about The Mindy Project, my favourite comedy series on air.
+ Josh reviews the movie Calvary, which I still need to finish watching.
+ Brittani recommends another indie gem, Summer in February. Love this feature of hers!

With a movie watchlist of over 600 films, it can be really hard to pick what to watch next. And since Fall/Winter is basically the best time of the year to watch movies, I figured narrowing it down to those movies I've been itching to watch was the best way to tackle it. So here you go, the 40 Movies I Can't Wait to Watch This Fall:

[ in order of release ]

Safety Last!, 1923

Because I want to see what this Lloyd fellow is all about.

FrankeNstein, 1931

Because I love Dracula and can't wait for some more classic horror.

Top Hat, 1935

Because I have yet to see an Astaire film, and this is supposedly his finest.

citizen kane, 1941

Because I still haven't seen it.

the killers, 1946

Because Lancaster and Gardner together sounds positively explosive.

the night of the hunter, 1955

Because it looks like one of the most haunting and gorgeous b&w films I'll ever see.

high noon, 1952

Because if anyone can make me like westerns, that someone is Gary Cooper.

Det sjunde inseglet, 1957 [ the seventh seal ]

Because it looks enigmatic and filled with meaning.

à Bout de Souffle, 1960 [ breathless ]

Because I know next to nothing about french new wave.

peeping tom, 1960

Because it has a killer concept and what looks like great visuals.

Les yeux sans visage, 1960 [ eyes without a face ]

Because it looks insanely creepy.

Såsom i en spegel, 1961 [ through a glass darkly ]

Because I've seen half of it and it's basically a crime to not see it through.

la notte, 1961

Because it's italian, which to me means sexy, beautiful, and sensitive.

dr. strangelove or:
how i learned to stop worrying and love the bomb, 1964

Because it looks creative, possibly genius.

Faces, 1968

Because I saw a clip and was instantly hooked. Brilliant.

the elephant man, 1980

Because it looks like a classic horror film that I would love,
yet it's Lynch in the 80s, which sounds awesome.

la haine, 1995

Because Fall is the time to watch gritty movies.

persona, 1966

Because I probably should've already.

fatal attraction, 1987

Because it looks intense and I miss a good Douglas film.

Henry & June, 1990

Because Anaïs Nin is my latest literary obsession.

the blair witch project, 1999

Because it's been a long time since I've had a good scare.

Fa yeung nin wa, 2000 [ in the mood for love ]

Because it's about time I see some asian films, and this sounds like a good place to start.

SECRETARY, 2002

Because it's like Fifty Shades of Grey, but possibly infinitely better.
And funny.

Låt den rätte komma in, 2008 [ let the right one in ]

Because again, I need some quality horror this Fall.

LOVELY, STILL, 2008

Because it looks like the sweetest thing I'll ever see.

the vicious kind, 2009

Because this is the film that made me do this list in the first place!

La piel que habito, 2011 [ the skin i live in ]

Because it looks disturbing and beautiful, which is a killer combination.
Doesn't the mask remind you of Les Yeux Sans Visage?
Perhaps I'll make it a double feature.

MICHAEL, 2011

Because it has an impossible premise and still came out on top.
I want to know how.

we need to talk about kevin, 2011

Because everyone raves about it, and I'd never miss a chance to see Swinton on screen.

OSLO, 31 AUGUST, 2011

Because I'm making a conscious effort to watch more foreign/indie films,
since so far the ones I've seen became instant favourites.

WUTHERING HEIGHTS, 2011

Because I could never finish the novel, and I'm hoping Andrea Arnold's adaptation changes that.

broken, 2012

Because british dramas never disappoint.

COSMOPOLIS, 2012

Because I like Pattinson and usually enjoy this type of movie.

DE ROUILLE ET D'OS, 2012 [ RUST AND BONES ]

Because it sounds like an emotional rollercoaster.

AMOUR, 2012

Because I'm a sucker for depressing love stories, provided they can still inspire.
And Michael Haneke.

maniac, 2012

Because it looks creative and a bit crazy.

Adore, 2013

Because it looks like the kind of story I like. And they're hot.

ONLY GOD FORGIVES, 2013

Because it should be amazing, yet everyone hates it.

UPSTREAM COLOR, 2013

Because I keep thinking it's asian and forgetting what it is about.
And that's just stupid.

calvary, 2014

Because I've already seen half of it and really need to finish it!

have you seen any of these? do you have a Fall watchlist, too?

It strikes me that there's a considerable amount of bullshit going on here.

in REVOLUTIONARY ROAD, by RICHARD YATES

That shockingly blunt line was proffered by Frank Wheeler (Leonardo DiCaprio) in response to his wife's exacerbated bad mood after a disastrous amateur theatre performance. But the same thing could be said about nearly everything that comes out of the characters of Revolutionary Road.

Richard Yates's novel is a story of perception, self-awareness, and illusion. Its characters struggle to maintain outer composure while they fall apart inside over and over again, each time worse than the one before. They spend so much time pretending to be someone else that they don't know what they want or what they believe in anymore. But they keep on deluding themselves because what are you gonna do? Face your own mediocrity?

For me this didn't read so much as an exposition of the suburban life lie, but rather as a deconstruction of those people who willingly, though sometimes unconsciously, live a lie, purposefully adjusting themselves at all times to better fit a certain environment or ideal. I suppose to some extent we all do it: we're all somewhat self-conscious about what we wear and how we talk to certain people.

But our self-awareness is nothing compared to Frank's: he imagines every situation, often rehearses his conversations, and constantly adjusts his posture, facial expressions, and voice tone. Every now and then Frank realises the shallowness of it all, for as it reads, no one forgets the truth; they just get better at lying. The following passage perfectly embodies this self-obsession:

He found it so easy and so pleasant to cry that he didn't try to stop for a while, until he realised he was forcing his sobs a little, exaggerating their depth with unnecessary shudders. Then, ashamed of himself, he bent over and carefully set his drink on the grass, go out his handkerchief and blew his nose. The whole point of crying was to quit before you cornied it up. [...] Because the thing was so easily corrupted, let yourself go and you started embellishing your own sobs.

April is a little different. She's still waiting for a life of excitement, dreaming of european capitals and fabulous people that will pull her out of her housewife misery. She longs to be one of them, and believes Frank can be, too. They come up with a plan to live in Paris that sounds depressing and hilariously unrealistic to everyone but them. What follows is for you to find out, but you're probably already guessing how that plan is going to go down.

They both despise (or say they do) the fake and boringness of the american dream, the suburban life, the company job, the white picket fenced house filled with beautiful children. They soon begin to feel trapped, but because appearances are to be maintained, they lash out at each other. And boy, do they know how to hurt one another.

Their arguments are as mean as they can be, both painfully honest and brutally fabricated, but more than the desire to inflict pain, what drives them is pure self-loathing. The insults are at times so blunt and feel so real that it is shocking - but refreshingly shocking, deliciously shocking, even.

This may sound bad, but their fights are so goddamn good. Yates wrote them all (and the novel itself) with such simplicity and crudeness that I couldn't help but wish for more and more. Of course in the end it breaks your heart, and although you may despise the Wheelers at first, you'll come to understand them and even identify with them at some level. All of this made Revolutionary Road a both captivating and enlightening read for me.

Now in comparison, the movie pales a little. DiCaprio and Winslet were perfectly cast - we feel like we know them already, we can easily imagine them together romantically (one could hope), and they have the goods to bring all those powerful and destructive emotions to life onscreen. Their arguments are well-written and shot, too (a lot of the lines are direct quotes), and the rest of the supporting characters embody their novel counterparts fairly well.

Overall it is beautifully shot, and the themes of fake friendships and suburban living come through nicely. But yet something is not quite right, something is missing from the movie. I can't exactly put my finger on it (maybe a bit more humour, depth of theory or feelings of self-consciousness?), but it doesn't impress as much as the novel does.

Still, it's a good movie of character study, and it's worth watching even if only for DiCaprio and Winslet's performances, which are fantastic. The book, however, is the real star.

top left image credit

have you seen, or read, Revolutionary Road?

Let me warn you right now, this week was more about my hair than movies. I've gone ash blonde whilst keeping my ash brown natural roots, and it took two days at the hairdresser to get it just right. If I were any good at selfies you'd see it. Come to think of it, that's probably why I don't like networks such as Facebook or Instagram. Well, that and the constant sharing of what I'm doing - I've tried, it was uncomfortable. Still, we've got a killer film, two british dramas, one disappointment, and a re-watch that still feels fresh.

I got the chick-killing shakes.
We started the week with Seven Psychopaths; WHY would you kill Michael Pitt and Michael Stuhlbarg in the first five minutes?! I was so happy saying this movie was going to be badass funny and then bang. It didn't take long for me to smile again though, because this movie is a-mazing.

On Monday we had an unscheduled watching of the two last instalments of the british Johnny Worricker trilogy. Turks and Caicos was on, the cast was superb (Bill Nighy, Christopher Walken, Helena Bonham Carter, Winona Ryder, Ralph Fiennes), and it seemed like just the kind of movie I like. I now realise that it may not have been intentional, but the plot was compellingly mysterious but simple (like when you only fully realise what's going on towards the end?), with a nice slow-burning pace and tight setting. The last film (Salting the Battlefield) is more of a conspiracy thriller, but it was still good.

Then came The Devil's Advocate - my only re-watch, though it was like seeing it for the first time. I was really impressed with how it walks the line between silly comedy and serious-thinking thriller with perfect balance. Oh how I missed Keanu Reeves - he has such a magnetising on screen presence, don't you think?

they say we die twice. Once when the breath leaves our body

and once when the last person we know says our name.

- Al Pacino, in Stand Up Guys

Lastly, I saw a little film with big actors called Stand Up Guys. I can't shake it off because it could've been seriously great if it weren't for all that flat dialogue and terrible rhythm. It was like it couldn't decide whether it was going to be a comedy-action movie or a quiet, poignant, heartwarming tale of friendship. So it ended up wasting the talents of Pacino, Walken and Arkin.

the best from around the web

+ Pete's many epic rants were compiled in one glorious video of Campbell rage, take a look

+ Scorsese is directing an HBO prequel to Shutter Island that explores the sanatorium

+ Sheila reviews Only Lovers Left Alive.

+ Elina shares her thoughts on Suits

+ Sati lists her Top 10 Music Moments in David Fincher's Films

+ Brittani talks about Filth

+ Mettel introduces us to the best and worst coming to TV this Fall

Yesterday I was going through my bloglovin feed and found the kind of post that always makes me happy:5 Favourites: Women Who Inspire. One of them was vulnerability guru Brené Brown, celebrated for her TED talk on letting go of shame and embracing emotional risk, the one true path to a happier life. She's a wonderful speaker, as many TED participants are, but despite her captivating personality it was her words that really spoke to me. I identified with her story more than I'd like to admit and, judging by the 16 million views of her video, I wasn't the only one.

Last night, with the words from Brown's conference and book in my mind, I went out to watch Magic in the Moonlight with my family. If there's a Woody Allen film in theatres, it doesn't matter what it is about, we're going.

This particular Allen film, however, was especially in tune with what I had experienced earlier in the day. Colin Firth's character is a notorious magician who doesn't believe in magic. He's a skeptic genius who lives life through a series of rational decisions based on solid common sense. He's rather contrived, self-conscious, judgmental, stubborn, arrogant; a perfectionist. Though polite (to an extent), he seems emotionally distant, locked up, thinking too much. And this weighs on him, making him a pessimist, acutely aware of the human condition, and of the lack of meaning and purpose to life, like many of Allen's characters. He also fits into the behaviour Brown describes, the one that prevents us from being truly happy. Again, I saw a bit more of myself in him than I had liked to.

Now, film criticism. I came home, ready to write about what I just described. I was looking for some quotes and inevitably stumbled upon a couple of reviews.As always, I wasn't surprised that most critics didn't like it (the travelling agent accusation is getting kind of old though, seriously), but for some reason reading those articles did it for me. I'm sick of reading the same obnoxious, negative bullshit over and over again.

This didn't all dawn on me last night, of course. I had been treading this train of thought for months now, but yesterday was it. It was when I realised that not only I'm tired of reading shallow negative reviews and mean-spirited commentary, but also I'm tired of thinking about flaws, of choosing between three or three and half stars, of sharing the disappointment and then regretting it because ultimately it is pointless and insignificant.

You know when you're having a conversation and there's that one person that keeps pointing out the things they don't like? Last night I ate delicious spaghetti... / Oh, I hate spaghetti. I read this pasta talk in every other review, from magazines to TV programmes, in blogs and social networks. I'm not saying it's wrong— if you keep it respectful (which rarely is the case, though) your opinion is as valid as any — it's just exhausting and boring.

Discussion is crucial, and film analysis is immensely interesting, even beautiful, but it's also rare: what most commercial and amateur "critics" want is not discussion, they're probably not even ready for it (it may actually be a blessing that they seem to be facing extinction). All they want is to throw the hate in your face and see if it sticks, because more often than not, it does. And that's extremely profitable for them — no such thing as bad publicity, right? Well, for me there is. The minute you do this, you lost me. I'm not coming back.

Because I don't want to know if you think Magic in the Moonlight has a weak script and a clichéd ending, if Firth was too old, or if Vicky Cristina Barcelona was the only Allen film you liked from this century. I don't care to read it, and I care even less to write about it, but most of all, I think it's all terribly irrelevant. Films have been around for over 100 years now, and these critics are still stuck to standards of quality, to the objective and superficial criticism of something that is anything but rational. Worse than that, is when personal remarks about the people involved are thrown in the mix, usually without purpose, and definitely not even remotely politely. It's degrading you, can't you see it?

So yes, I'm out. This kind of criticism doesn't remotely interest me, and I'm sorry if I ever helped perpetuate this mindless shit (because really no other word comes to mind). Thorough analysis of film and its history, of technique and what inspires, learning and sharing it all with whoever is interested in talking about it — that's why I'm here. And I hope that's why you're here, too. Even if it is a cliché.

And by the way no, he wasn't too old, are you insane? I'd totally hit that.

The ever sweet Katy from Girl Meets Cinema has nominated me for the One Lovely Blog Award, amongst other fourteen fabulous bloggers (seriously, some are so cute you need to check them out).

Here are the rules for this award:
You must thank the person who nominated you and include a link to their blog. (See above)
You must list the rules and display the award.
You must add 7 facts about yourself.
You must nominate 15 other bloggers and comment on one of their posts to let them know they have been nominated.
You must display the award logo and follow the blogger who nominated you.

Everyone gets an award!
+ Being Norma Jeane, because Nik's posts are always fun and she's my podcast pal.
+ Stardust, because I can never miss one of Vanessa's posts (even if I don't always comment!), and her blog has been growing into something really interesting lately.
+ Life Between Films, because I basically want to be Shala so that I can go to a bunch of cool festivals.
+ Mettel Ray Movie Blog, because Mettel always comes up with original posts, especially when it comes to TV.
+ The Sheila Variations, because Sheila writes the longest posts of the blogosphere and yet I can't skip a paragraph. Also, she really knows stuff, it's kind of scary.
+ Cinematic Corner, because Sati is fierce, always makes me laugh, and really puts an effort into every post. And because I drool all over her designs, yes.
+ Films and Coke, because I can never get enough of Elina's enthusiasm, and she actually has a very lovely online presence!
+ Rambling Film, because at this point Brittani is my go to blogger for indie recommendations.
+ Heart of Cinema, because Caitlin is truly sweet and a good blogger, but you need to write more!
+ And Nell Writes, and the same goes for Nell!
+ Once Upon a Screen, because Aurora's posts nurture my classic film love.
+ Cinematic Spectacle, because whenever I read Josh's posts I get a sense they come from a place of honesty, and I adore their brilliant simplicity.
+ And So It Begins, because Alex is like the male short version of Sheila: with a clear love for film and ever growing knowledge, he writes the most fascinating and insightful posts.
+ The Matinee, for pretty much the same reasons as And So it Begins.
+ The Soul of the Plot, because Hunter covers pretty much anything classic, and writes killer reviews.

bonus: Girl Meets Cinema, because I can sense her fangirling mode in almost every post, and nothing is more invigorating that knowing what someone's passionate about. And she's got design skills, her blog looks so cute!

7 Facts About Me
+ I have a 20 Random Facts About Me post published, you can go ahead and pick seven out of those because I don't know what else to share!

this post is part of the Top Ten Tuesdayfeature, hosted by the Broke and the Bookish

For a while now I've been checking out the top then themes to see when I could participate, and this week there was finally a subject I felt comfortable listing! The order is based on... sort of a mix of my enjoyment of the author itself (not necessarily the book I've read), and the urgency to read more from them.

Honourable Mention: John Steinbeck. I liked East of Eden, but family dramas are not usually my cup of tea - in fact Steinbeck may be the only author that ever got me to enjoy the genre. So I'm a little scared of his books because they all sound a bit boring!

#10 Carlos Ruiz Zafón, La Sombra Del Viento [ The Shadow of the Wind ]
I've read this book so many years ago I can't even recall what it was about exactly. I know how I was very impressed with Zafón's novel at the time and so I'm actually thinking of revisiting the novel before moving on. Next: El Juego del Ángel [ The Angel's Game ]

#09 Charlotte Brontë, Jane Eyre

Brontë is a very peculiar situation for me. I found Jane Eyre to be a fantastic book, one that I thoroughly enjoyed and adequately obsessed over it for a long period of time; but I can't find another Brontë novel that I'm dying to read. Next: probably Villette

#08 Florbela Espanca, As Máscaras do Destino [ The Masks of Destiny ]

This is shamefully the only portguese author in here, and it's shameful because the reason for that is that I haven't read many portuguese authors. From all that I've read only one book from, Espanca is the one that I want to read more from. Interestingly enough, Máscaras is a book of short stories and Espanca is better known for her poetry. I've talked on our podcast about one of the short stories, O Sobrenatural, the one that truly got to me. Next: Sonetos

#07 Milan Kundera, Nesnesitelná lehkost bytí[ The Unbearable Lightness of Being ]

This is just like Brontë, possibly worse. I lovedThe Unbearable Lightness of Being, I honestly don't know what to read next, but I need to read something. Next: HELP

#06 Penny Reid, Neanderthal Seeks Human

Okay so technically when I wrote this post I had not yet finished the book, but I knew I needed to read more from Reid; and now that I am done with it, the feeling remains. I've just begun reading Friends without Benefits (the second book in the Knitting in the City series), so I don't know if I'll like it as much as Neanderthal, but I can tell you that the latter is worth a read.

If you're looking for a smart and funny (I honestly laughed out loud several times) romance novel that doesn't go where you're expecting (at least in the first two-thirds of it), that has a quirky female lead, and just a bit of darkness to it, this is your book. Next: Friends Without Benefits

#05 Stephen King, Misery

Of all the ten authors that are featured in this list, Stephen King is the only one that I like despite having tried to read a second book of his and failing to finish. That book was Lisey's Story, and I simply lost all interest in it halfway through it, three or four summers ago.

Misery, however, had me hooked. I distinctly recall being pleased by how gross (that mouth-to-mouth breathing description has stayed with me since) and how scary it was, something I had never felt while reading a book. So I want more, because fear is something no other author ever gave me again. Next: The Shining

#04 Christopher Isherwood, A Single Man

Isherwood moved me deeply with his beautiful, poignant writing in A Single Man, and I'm just itching to get more of his writing style and sensitivity. Next: The Berlin Stories: The Last of Mr Norris/Goodbye to Berlin

#03 Anaïs Nin, Delta of Venus

Though Delta of Venus is the only book from Anaïs Nin that I've finished, when I was done with it I wasn't very keen on reading Little Birdsor any other erotica novels for which Nin is famous (though I understand and can appreciate the genre). Nonetheless, I couldn't shake the feeling that she was a beautiful writer of prose, and a great character builder. I got this impression from passages like this one, from The Hungarian Adventurer short story:

When he needed money he married a rich woman, plundered her and left for another country. Most of the time the women did not rebel or complain to the police. The few weeks or months they had enjoyed him as a husband left a sensation that was stronger than the shock of losing their money. For a moment they had known what it was to live with strong wings, to fly above the heads of mediocrity.

So I started Henry and June, which is gathered from passages of Nin's real life journals, and my feeling was right. Her writing is wonderful, and her thoughts are so captivating. I could only find one volume of her journals, but hope someday I will get to read them all. Next: finishHenry and June

#02 Bret Easton Ellis, American Psycho

I guess the only surprise here is that I haven't read more books from Ellis! American Psycho is the coolest book ever ever ever, which is a bit scary because it won't be easy for other novels to live up to it. Next: eitherLess Than Zeroor The Rules of Attraction

#01 Donna Tartt, The Secret History

This is kind of like Shadow of the Wind, but the feeling of having loved it is much, much stronger. I honestly can't really remember the plot, nor what happens at the end, not even the character's names apart from Bunny. I remember it was dark, secretive, and extremely alluring. This book seduced my when I was eighteen and never allowed me to move on.

I've waited a long time for Tartt to write another novel that would spark my curiosity. Now there is The Goldfinch, highly praised, equally long. I've read the first chapter but put it down and decided not to buy it just yet. I'm thinking December will be a good time to read it, and until then I'll be able to revisit The Secret History.
Next:The Goldfinch

next tuesday's list will be 10 Books in My Fall Reading List, join us!

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