2005: Complete Viewing Log

Tags: 
  • 100-90 = Masterpiece
  • 89-80 = Remarkable
  • 79-70 = Very Good
  • 69-60 = Good
  • 59-50 = Okay
  • 49-40 = Mediocre
  • 39-30 = Bad
  • 29-20 = Horrible
  • 19-10 = Torture
  • 9-0 = Would end a war if dropped on opposing country

  • ------------------------

  • 293. (22 Sep) Investigation of a Citizen Above Suspicion (1970, Elio Petri; Italy) 86
  • 292. (22 Sep) Humanity and Paper Balloons (1937, Sadao Yamanaka; Japan) 73
  • 291. (21 Sep) Dear Wendy (2005, Thomas Vinterberg; Denmark) 47
  • 290. (19 Sep) Lord of War (2005, Andrew Niccol; USA) 43
  • 289. (15 Sep) Passing Fancy (1933, Yasujiro Ozu; Japan) 80
  • 288. (15 Sep) Safety Last! (1923, Fred C. Newmeyer and Sam Taylor; USA) 61
  • 287. (14 Sep) /Happiness/ (1998, Todd Solondz; USA) 65
  • 286. (13 Sep) /Primer/ (2004, Shane Carruth; USA) 72
  • 285. (12 Sep) Palindromes (2005, Todd Solondz; USA) 68
  • 284. (11 Sep) Dallas 362 (2003, Scott Caan; USA) 67
  • 283. (11 Sep) Girl Shy (1924, Fred C. Newmeyer and Sam Taylor; USA) 72
  • 282. (10 Sep) Try and Get Me! (1950, Cy Endfield; USA) 77
  • 281. (09 Sep) An Inn in Tokyo (1935, Yasujiro Ozu; Japan) 72
  • 280. (08 Sep) /Henry: Portrait of a Serial Killer/ (1986, John McNaughton; USA) 64
  • 279. (08 Sep) The Paradine Case (1947, Alfred Hitchcock; USA) 76
  • 278. (06 Sep) The Heart is Deceitful Above All Things (2004, Asia Argento; UK) 57
  • 277. (05 Sep) The Raid (1954, Hugo Fregonese; USA) 65
  • 276. (05 Sep) A Summer at Grandpa's (1984, Hou Hsiao-hsien; Taiwan) 81
  • 275. (29 Aug) /Izo/ (2004, Takashi Miike; Japan) 85
  • 274. (29 Aug) Mr. and Mrs. Smith (2005, Doug Liman; USA) 42
  • 273. (27 Aug) Baadasssss! (2004, Mario Van Peebles; USA) 60
  • 272. (27 Aug) /The Elephant Man/ (1980, David Lynch; USA) 83
  • 271. (27 Aug) Ana and the Others (2002, Celina Murga; Argentina) 70
  • 270. (26 Aug) Wedding Crashers (2005, David Dobkin; USA) 46
  • 269. (26 Aug) Le révélateur (1968, Philippe Garrel; France) 82
  • s30. (23 Aug) Alone. Life Wastes Andy Hardy (1998, Martin Arnold; Austria)
  • s29. (23 Aug) Passage à l'acte (1993, Martin Arnold; Austria)
  • 268. (22 Aug) Red Eye (2005, Wes Craven; USA) 54
  • 267. (22 Aug) American Gigolo (1980, Paul Schrader; USA) 58
  • 266. (21 Aug) The Inner Scar (1972, Philippe Garrel; France) 65
  • s28. (21 Aug) Yûkoku (1966, Yukio Mishima; Japan)
  • 265. (21 Aug) Father Brown (1954, Robert Hamer; UK) 55
  • 264. (21 Aug) The Spider and the Fly (1949, Robert Hamer; UK) 67
  • 263. (19 Aug) Intentions of Murder (1964, Shohei Imamura; Japan) 74
  • 262. (17 Aug) The Long Memory (1952, Robert Hamer; UK) 51
  • 261. (17 Aug) It Always Rains on Sunday (1948, Robert Hamer; UK) 64
  • s26. (17 Aug) End (1994, Artavazd Peleshyan; Armenia)
  • s25. (17 Aug) Inhabitants (1970, Artavazd Peleshyan; Armenia)
  • 260. (15 Aug) The Island (2005, Michael Bay; USA) 23
  • 259. (14 Aug) /Hiroshima mon amour/ (1959, Alain Resnais; France) 88
  • 258. (14 Aug) Crazed Fruit (1956, Kô Nakahira; Japan) 55
  • 257. (13 Aug) Salesman (1969, Albert Maysles and David Maysles; USA) 74
  • 256. (13 Aug) Story of a Prostitute (1965, Seijun Suzuki; Japan) 71
  • 255. (12 Aug) Grizzly Man (2005, Werner Herzog; USA) 78
  • s25. (12 Aug) Four Seasons (1975, Artavazd Peleshyan; Armenia)
  • s24. (12 Aug) Life (1992, Artavazd Peleshyan; Armenia)
  • s23. (12 Aug) We (1969, Artavazd Peleshyan; Armenia)
  • s22. (12 Aug) Beginning (1967, Artavazd Peleshyan; Armenia)
  • 254. (10 Aug) The Thin Blue Line (1988, Errol Morris; USA) 66
  • 253. (10 Aug) Hostel (2005, Eli Roth; USA) 13
  • 252. (09 Aug) Vernon, Florida (1981, Errol Morris; USA) 77
  • 251. (09 Aug) The 40-Year Old Virgin (2005, Judd Apatow; USA) 34
  • 250. (08 Aug) The Apple (1998, Samira Makhmalbaf; Iran) 73
  • 249. (08 Aug) Broken Flowers (2005, Jim Jarmusch; USA) 61
  • 248. (06 Aug) /Boys Don't Cry/ (1999, Kimberly Pierce; USA) 64
  • 247. (05 Aug) Blast of Silence (1961, Allen Baron; USA) 58
  • 246. (05 Aug) Brother's Keeper (1992, Joe Berlinger and Bruce Sinofsky; USA) 63
  • 245. (05 Aug) Bad News Bears (2005, Richard Linklater; USA) 47
  • 244. (04 Aug) Rendezvous at Bray (1971, André Delvaux; France) 70
  • 243. (04 Aug) Junebug (2005, Phil Morrison; USA) 64
  • 242. (03 Aug) Panic in the Streets (1950, Elia Kazan; USA) 68
  • 241. (02 Aug) The Devil's Rejects (2005, Rob Zombie; USA) 57
  • 240. (31 Jul) /Punch-Drunk Love/ (2002, P.T. Anderson; USA) 92
  • s21. (31 Jul) /Elephant/ (1989, Alan Clarke; UK)
  • 239. (29 Jul) Tale of the Cinema (2005, Hong Sang-soo; South Korea) 69
  • 238. (29 Jul) A Bittersweet Life (2005, Kim Ji-woon; South Korea) 47
  • 237. (29 Jul) /War of the Worlds/ (2005, Steven Spielberg; USA) 61
  • 236. (28 Jul) Born into Brothels (2004, Zana Briski and Ross Kauffman; USA) 63
  • 235. (27 Jul) Dirty Harry (1971, Don Siegel; USA) 83
  • 234. (27 Jul) The Line-Up (1958, Don Siegel; USA) 81
  • 233. (26 Jul) Little Toys (1933, Sun Yu; China) 65
  • 232. (26 Jul) Wild Grass and Fresh Flowers (1930, Sun Yu; China) 54
  • 231. (25 Jul) /Event Horizon/ (1997, Paul W.S. Anderson; USA) 46
  • 230. (24 Jul) Hustle & Flow (2005, Craig Brewer; United States) 53
  • s20. (24 Jul) /Elephant/ (1989, Alan Clarke; UK)
  • 229. (24 Jul) /Dark Water/ (2002, Hideo Nakata; Japan) 63
  • 228. (22 Jul) Last Days (2005, Gus Van Sant; United States) 71
  • 227. (21 Jul) Bewitched (2005, Nora Ephron; United States) 24
  • 226. (19 Jul) Rize (2005, Dave LaChapelle; United States) 64
  • 225. (18 Jul) Overnight (2004, Tony Montana and Mark Brian Smith; USA) 53
  • 224. (17 Jul) /Dark Water/ (2005, Walter Salles; USA) 55
  • 223. (16 Jul) Design for Living (1933, Ernst Lubitsch; USA) 72
  • s19. (16 Jul) The Man We Want to Hang (2002, Kenneth Anger; USA)
  • 222. (15 Jul) /Million Dollar Baby/ (2004, Clint Eastwood; USA) 87
  • 221. (15 Jul) Me and You and Everyone We Know (2005, Miranda July; United States) 69
  • 220. (15 Jul) Dark Water (2005, Walter Salles; USA) 55
  • 219. (13 Jul) Deep End (1971, Jerzy Skolimowski; UK) 75
  • 218. (13 Jul) Tiefland (1954, Leni Riefenstahl; Germany) 83
  • 217. (12 Jul) /Dawn of the Dead/ (1978, George A. Romero; USA) 84
  • 216. (12 Jul) March of the Penguins (2005, Luc Jacquet; France) 52
  • 215. (10 Jul) The Awful Truth (1937, Leo McCarey; USA) 95
  • 214. (09 Jul) Green Chair (2005, Park Cheol-su; South Korea) 60
  • 213. (09 Jul) Gunner Palace (2005, Petra Epperlein and Michael Tucker; USA) 49
  • 212. (09 Jul) Hide and Seek (2005, John Polson; USA) 28
  • s18. (08 Jul) Autumnal (1993, Stan Brakhage; USA)
  • s17. (08 Jul) Night Music (1986, Stan Brakhage; USA)
  • 211. (08 Jul) /The Conformist/ (1970, Bernardo Bertolucci; Italy) 73 [Finally letterboxed, bust still dubbed. Uggg...]
  • 210. (07 Jul) Land of the Dead (2005, George A. Romero; USA) 66
  • 209. (06 Jul) /War of the Worlds/ (2005, Steven Spielberg; USA) 61
  • 208. (05 Jul) /Au hasard Balthazar/ (1966, Robert Bresson; France) 94
  • 207. (05 Jul) Veronika Voss (1982, Rainer Werner Fassbinder; Germany) 69
  • 206. (04 Jul) Dirty Ho (1979, Liu Chia-liang; Hong Kong) 79
  • 205. (02 Jul) /The Life Aquatic with Steve Zissou/ (2004, Wes Anderson; USA) 84
  • 204. (02 Jul) Anatahan (1954, Josef von Sternberg; Japan) 72
  • 203. (01 Jul) The Jacket (2005, John Maybury; USA) 21
  • 202. (01 Jul) Fallen Angel (1945, Otto Preminger; USA) 68
  • 201. (01 Jul) The Marriage of Maria Braun (1979, Rainer Werner Fassbinder; Germany) 64
  • 200. (30 Jun) /Cast Away/ (2000, Robert Zemeckis; USA) 74 [Third viewing or so; rating roughly the same]
  • 199. (30 Jun) Morning Glory (1933, Lowell Sherman; USA) 71
  • 198. (29 Jun) War of the Worlds (2005, Steven Spielberg; USA) 63
  • 197. (28 Jun) Lola (1981, Rainer Werner Fassbinder; Germany) 84
  • 196. (28 Jun) Heaven Can Wait (1943, Ernst Lubitsch; USA) 74
  • 195. (27 Jun) Feathers in the Wind (2005, Song Il-gon; South Korea) 53
  • 194. (25 Jun) The Pornographers (1966, Shohei Imamura; Japan) 64
  • 193. (25 Jun) Vital (2004, Shinya Tsukamoto; Japan) 56
  • 192. (25 Jun) The Wayward Cloud (2005, Tsai Ming-liang; Taiwan) 75
  • 191. (25 Jun) Spring in a Small Town (1948, Fei Mu; China) 67
  • 190. (23 Jun) Tarnation (2004, Jonathan Caouette; USA) 52
  • 189. (23 Jun) Another Lonely Hitman (1995, Rokuro Mochizuki; Japan) 50
  • 188. (20 Jun) 4 (2005, Ilya Khrzhanovsky; Russia) 59
  • 187. (20 Jun) Tony Takitani (2005, Jun Ichikawa; Japan) 45
  • 186. (18 Jun) Creep (2005, Christopher Smith; UK) 41
  • 185. (18 Jun) /I Heart Huckabees/ (2004, David O. Russell; USA) 66 [Second viewing, up a bit]
  • 184. (18 Jun) Man Hunt (1941, Fritz Lang; USA) 74
  • 183. (17 Jun) Cremaster 3 (2002, Matthew Barney; USA) 65
  • 182. (17 Jun) /Oldboy/ (2003, Park Chan-wook; South Korea) 73 [Second viewing]
  • 181. (17 Jun) /Sideways/ (2004, Alexander Payne; USA) 79 [Second viewing]
  • 180. (15 Jun) Batman Begins (2005, Christopher Nolan; USA) 58
  • 179. (14 Jun) Secret Agent (1936, Alfred Hitchcock; UK) 69
  • 178. (14 Jun) Spiritual Voices: Episode 1 (1995, Alexander Sokurov; Russia)
  • 177. (11 Jun) The Man Who Knew Too Much (1934, Alfred Hitchcock; UK) 51
  • 176. (10 Jun) The Crowd Roars (1932, Howard Hawks; USA) 63
  • 175. (09 Jun) Tange Sazen and the Pot Worth a Million Ryo (1935, Sadao Yamanaka; Japan) 85
  • 174. (09 Jun) Detective Bureau 2-3: Go to Hell, Bastards! (1963, Seijun Suzuki; Japan) 54
  • 173. (07 Jun) Cinderella Man (2005, Ron Howard; USA) 52
  • 172. (05 Jun) Juggernaut (1974, Richard Lester; UK) 82
  • 171. (01 Jun) The Longest Yard (2005, Peter Segal; USA) 44
  • 170. (30 May) Spanking the Monkey (1994, David O. Russell; USA) 72
  • 169. (28 May) Sabotage (1936, Alfred Hitchcock; UK) 71
  • 168. (28 May) The Devil-Doll (1936, Tod Browning; USA) 82
  • 167. (27 May) The Cremator (1968, Juraj Herz; Czechoslovakia) 63
  • 166. (27 May) The Informer (1935, John Ford; USA) 64
  • 165. (26 May) House of Wax (2005, Jaume Collet-Serra; USA) 48
  • 164. (26 May) Bigger than Life (1956, Nicholas Ray; USA) 65 [Thanks Kent!]
  • 163. (26 May) Man of Aran (1934, Robert Flaherty; USA) 70
  • 162. (25 May) Unleashed (2005, Louis Leterrier; France) 52
  • 161. (24 May) Los Muertos (2004, Lisandro Alonso; Argentina) 79
  • 160. (24 May) The 39 Steps (1935, Alfred Hitchcock; UK) 74
  • 159. (22 May) Dead Man Walking (1995, Tim Robbins; USA) 75
  • 158. (22 May) CSI: Season Finale (2005, Quentin Tarantino; USA) 41 [It's still just CSI...]
  • 157. (20 May) S21: The Khmer Rouge Killing Machine (2003, Rithy Panh; Cambodia) 54
  • 156. (20 May) Star Wars Episode III: Revenge of the Sith (2005, George Lucas; USA) 46
  • 155. (19 May) Nenette and Boni (1996, Claire Denis; France) 57
  • 154. (17 May) The Eel: Director's Cut (1997, Shohei Imamura; Japan) 69
  • 153. (16 May) The Lady Vanishes (1938, Alfred Hitchcock; UK) 88
  • 152. (15 May) Queen Kelly (1929, Erich von Stroheim; USA) 74
  • 151. (13 May) The Big Red One: The Reconstruction (1980, Samuel Fuller; USA) 86
  • 150. (13 May) /Hotel Rwanda/ (2004, Terry George; USA) 39
  • 149. (10 May) Hatari! (1962, Howard Hawks; USA) 75
  • 148. (10 May) Actress: 160m Director's Cut (1992, Stanley Kwan; Hong Kong) 66
  • s16. (10 May) Hapax Legomena: Nostalgia (1971, Hollis Frampton; USA)
  • 147. (09 May) Whistle Down the Wind (1961, Bryan Forbes; UK) 52
  • s15. (09 May) Ménilmontant (1926, Dimitri Kirsanoff; France)
  • 146. (08 May) /Fahrenheit 9/11/ (2004, Michael Moore; USA) 45 [Second viewing]
  • 145. (08 May) Kingdom of Heaven (2005, Ridley Scott; USA) 48
  • 144. (07 May) Crash (2005, Paul Haggis; USA) 49
  • 143. (06 May) Tales of the Taira Clan (1955, Kenji Mizoguchi; Japan) 81
  • 142. (05 May) Street of Shame (1956, Kenji Mizoguchi; Japan) 64
  • 141. (05 May) Run of the Arrow (1957, Samuel Fuller; USA) 77
  • 140. (04 May) The Duellists (1977, Ridley Scott; UK) 63
  • 139. (04 May) Peacock (2005, Gu Changwei; China) 61
  • 138. (29 Apr) The Hitchhiker's Guide to the Galaxy (2005, Garth Jennings; USA) 42
  • 137. (28 Apr) /Demonlover/ (2002, Olivier Assayas; France) 73 [Second viewing; up a bit]
  • 136. (28 Apr) Birth (2004, Jonathan Glazer; USA) 52
  • 135. (27 Apr) Café Lumière (2004, Hou Hsiao-hsien; Taiwan) 66
  • 134. (26 Apr) Rio Bravo (1959, Howard Hawks; USA) 92
  • 133. (25 Apr) Oporto of My Childhood (2001, Manoel de Oliveira; Portugal) 61
  • 132. (25 Apr) This Charming Girl (2004, Lee Yoon-ki; South Korea) 53
  • 131. (23 Apr) Bitter Victory (1957, Nicholas Ray; USA) 74
  • 130. (22 Apr) The Interpretor (2005, Sydney Pollack; USA) 36
  • 129. (21 Apr) Young and Innocent (1937, Alfred Hitchcock; UK) 71
  • 128. (20 Apr) Look at Me (2004, Agnès Jaoui; France) 59
  • 127. (18 Apr) Crime Wave (1985, John Piazs; Canada) 68
  • s14. (18 Apr) Prologue (2004, Béla Tarr; Hungary)
  • s13. (17 Apr) L'arrivée (1998, Peter Tscherkassky; Austria)
  • s12. (17 Apr) Dream Work (2002, Peter Tscherkassky; Austria)
  • 126. (17 Apr) The Ascent (1976, Larisa Shepitko; Soviet Union) 77
  • 125. (16 Apr) /Vertigo/ (1958, Alfred Hitchcock; USA) 100 [Third viewing; first in a couple three years]
  • s11. (16 Apr) Fire in the Castle (1960, José Val del Omar; Spain)
  • 124. (16 Apr) A Wanderer's Notebook (1962, Mikio Naruse; Japan) 65
  • 123. (15 Apr) Yearning (1964, Mikio Naruse; Japan) 78
  • 122. (14 Apr) L'intrus (2004, Claire Denis; France) 64
  • 121. (14 Apr) Thieves' Highway (1949, Jules Dassin; USA) 62
  • 120. (13 Apr) Fever Pitch (2005, Peter and Bobby Farrelly; USA) 42
  • 119. (09 Apr) Ran (1985, Akira Kurosawa; Japan) 78
  • 118. (09 Apr) AK (1985, Chris Marker; France) 55
  • 117. (06 Apr) Assault on Precinct 13 (2005, Jean-François Richet; USA) 44
  • 116. (04 Apr) Casque D'or (1952, Jacques Becker; France) 77
  • 115. (04 Apr) Godzilla (1954, Ishirô Honda; Japan) 51
  • 114. (02 Apr) New Rose Hotel (1998, Abel Ferrara; USA) 81
  • 113. (02 Apr) Steamboy (2004, Katsuhiro Ôtomo; Japan) 43
  • 112. (01 Apr) Sin City (2004, Robert Rodriguez, Frank Miller, and Quentin Tarantino; USA) 56
  • 111. (30 Mar) In the Mirror of Maya Deren (2002, Martina Kudlácek; Austria) 62
  • 110. (30 Mar) Fast, Cheap, and Out of Control (1997, Errol Morris; USA) 63
  • 109. (30 Mar) Macbeth (1948, Orson Welles; USA) 65
  • 108. (29 Mar) /The General/ (1927, Buster Keaton and Clyde Bruckman; USA) 86 [Second viewing; first in years]
  • 107. (28 Mar) Hell is for Heroes (1962, Don Siegel; USA) 79
  • 106. (28 Mar) Masculin, féminin (1966, Jean-Luc Godard; France) 76
  • 105. (27 Mar) College (1927, James W. Horne; USA) 63
  • 104. (27 Mar) Whisky (2004, Juan Pablo Rebella and Pablo Stoll; Uruguay) 58
  • 103. (26 Mar) Reminiscences of a Journey to Lithuania (1972, Jonas Mekas; UK) 72
  • 102. (23 Mar) The Taste of Tea (2004, Katsuhito Ishii; Japan) 67
  • 101. (23 Mar) Survive Style 5+ (2004, Gen Sekiguchi; Japan) 40
  • 100. (22 Mar) 2LDK (2002, Yukihiko Tsutsumi; Japan) 42
  • s10. (21 Mar) Antoine & Collette (1962, François Truffaut; France)
  • 099. (21 Mar) /The 400 Blows/ (1959, François Truffaut; France) 86
  • 098. (20 Mar) The Ring Two (2004, Hideo Nakata; USA) 10
  • 097. (19 Mar) A Woman of Tokyo (1933, Yasujiro Ozu; Japan) 59
  • 096. (19 Mar) Lady Ôyu (1951, Kenji Mizoguchi; Japan) 83
  • 095. (19 Mar) Red Lights (2004, Cédric Kahn; France) 75
  • 094. (18 Mar) Westfront 1918 (1930, G.W. Pabst; Germany) 58
  • 093. (17 Mar) Shanghai Express (1932, Josef von Sternberg; USA) 84
  • 092. (17 Mar) The Criminal Life of Archibaldo de la Cruz (1955, Luis Buñuel; Mexico) 69
  • 091. (16 Mar) This Land is Mine (1943, Jean Renoir; USA) 72
  • 090. (16 Mar) Secret Ceremony (1968, Joseph Losey; UK) 67
  • 089. (15 Mar) Él (1952, Luis Buñuel; Mexico) 78
  • 088. (14 Mar) Winter Light (1963, Ingmar Bergman; Sweden) 66
  • 087. (14 Mar) A Letter from an Unknown Woman (2004, Xu Jinglei; China) 44
  • 086. (13 Mar) /M/Other/ (1999, Nobuhiro Suwa; Japan) 81 [Second viewing; no change in rating]
  • 085. (12 Mar) Cruising (1980, William Friedkin; USA) 53
  • 084. (11 Mar) Louisiana Story (1948, Robert J. Flaherty; USA) 80
  • 083. (11 Mar) The River (1951, Jean Renoir; USA) 84
  • 082. (08 Mar) Undertow (2004, David Gordon Green; USA) 60
  • 081. (08 Mar) Histoire(s) du cinema, Part 1: Toutes les histoires (1989, Jean-Luc Godard; France) 71
  • 080. (07 Mar) Tout va bien (1972, Jean-Luc Godard and Jean-Pierre Gorin; France) 59
  • 079. (06 Mar) Advise and Consent (1962, Otto Preminger; USA) 68
  • 078. (05 Mar) /Shara/ (2003, Naomi Kawase; Japan) 72
  • 077. (04 Mar) Be Cool (2005, F. Gary Gray; USA) 20
  • 076. (02 Mar) The Man Who Shot Liberty Valance (1962, John Ford; USA) 79
  • 075. (27 Feb) Izô (2004, Takashi Miike; Japan) 73
  • 074. (26 Feb) Constantine (2005, Francis Lawrence; USA) 50
  • 073. (26 Feb) White Hunter, Black Heart (1990, Clint Eastwood; USA) 66
  • 072. (26 Feb) Under the Roofs of Paris (1930, René Clair; France) 59
  • 071. (25 Feb) A Story of Floating Weeds (1934, Yasujiro Ozu; Japan) 71
  • 070. (25 Feb) Love Me Tonight (1932, Rouben Mamoulian; USA) 68
  • s09. (24 Feb) 7:35 in the Morning (2004, Nacho Vigalondo; Spain)
  • 069. (23 Feb) The Testament of Dr. Mabuse (1933, Fritz Lang; Germany) 76
  • 068. (23 Feb) 9 Songs (2004, Michael Winterbottom; UK) 36
  • 067. (21 Feb) Juvenile Court (1973, Frederick Wiseman; USA) 77
  • 066. (21 Feb) Matango (1963, Ishirô Honda; Japan) 25
  • 065. (20 Feb) He Got Game (1998, Spike Lee; USA) 67
  • 064. (20 Feb) Demons (1971, Toshio Matsumoto; Japan) 59
  • 063. (19 Feb) Silmido (2003, Kang Woo-suk; South Korea) 48
  • 062. (18 Feb) Primate (1974, Frederick Wiseman; USA) 72
  • 061. (18 Feb) My Man Godfrey (1936, Gregory LaCava; USA) 81
  • 060. (17 Feb) 3:10 to Yuma (1957, Delmer Daves; USA) 84
  • 059. (17 Feb) Early Spring (1956, Yasujiro Ozu; Japan) 68
  • 058. (15 Feb) Blood of a Poet (1930, Jean Cocteau; France) 61
  • 057. (15 Feb) Hell's Angels (1930, Howard Hughes; USA) 59
  • 056. (14 Feb) Intolerance (1916, D.W. Griffith; USA) 62
  • 055. (13 Feb) Vagabond (1985, Agnès Varda; France) 85
  • 054. (13 Feb) Days of Being Wild (1991, Wong Kar-Wai; Hong Kong) 64
  • 053. (12 Feb) Bunny Lake is Missing (1965, Otto Preminger; USA) 80
  • 052. (11 Feb) Charley Varrick (1973, Don Siegel; USA) 74
  • 051. (11 Feb) /Million Dollar Baby/ (2004, Clint Eastwood; USA) 82 [Third viewing; keeps goin' up]
  • 050. (09 Feb) Carnival of Souls (1962, Herk Harvey; USA) 51
  • 049. (09 Feb) Brief Encounter (1945, David Lean; UK) 83
  • 048. (08 Feb) Dazzling (2002, Xin Lee; China) 46
  • 047. (08 Feb) Female Convict Scorpion: Prisoner #701 (1972, Shunya Ito; Japan) 55
  • 046. (06 Feb) Meat (1976, Frederick Wiseman; USA) 68
  • 045. (05 Feb) The Kindergarten (2004, Zhang Yiqing; China) 47
  • 044. (05 Feb) A Story from Chikamatsu (1954, Kenji Mizoguchi; Japan) 60
  • 043. (04 Feb) Downfall (2004, Oliver Hirschbiegel; Germany) 57
  • 042. (02 Feb) Unknown Pleasures (2002, Jia Zhang Ke; China) 64
  • 041. (02 Feb) Fresh (1994, Boaz Yakin; USA) 69
  • 040. (01 Feb) The Woodsman (2004, Nicole Kassell; USA) 37
  • 039. (01 Feb) The World (2004, Jia Zhang Ke; China) 82
  • 038. (31 Jan) Ray (2004, Taylor Hackford; USA) 50
  • 037. (30 Jan) The Assassination of Richard Nixon (2004, Niels Mueller; USA) 65
  • 036. (29 Jan) Metallica: Some Kind of Monster (2004, Joe Berlinger and Bruce Sinofsky; USA) 62
  • 035. (29 Jan) Dead Man's Shoes (2004, Shane Meadows; UK) 43
  • 034. (27 Jan) Our Music (2004, Jean-Luc Godard; France) 62
  • 033. (27 Jan) Tribulation 99: Alien Anomalies Under America (1992, Craig Baldwin; USA) 54
  • 032. (25 Jan) Vera Drake (2004, Mike Leigh; UK) 67
  • 031. (22 Jan) Record of a Tenement Gentleman (1947, Yasujiro Ozu; Japan) 68
  • 030. (22 Jan) Gion Festival Music (1953, Kenji Mizoguchi; Japan) 72
  • 029. (22 Jan) Shutter (2004, Parkpoom Wongpoom; Thailand) 20
  • 028. (19 Jan) Youth of the Beast (1963, Seijun Suzuki; Japan) 66
  • 027. (19 Jan) Our Hospitality (1923, John G. Blystone and Buster Keaton; USA) 73
  • 026. (16 Jan) Closer (2004, Mike Nichols; USA) 48
  • 025. (15 Jan) Empress Yang Kwei-fei (1955, Kenji Mizoguchi; Japan) 68
  • 024. (15 Jan) The Lady from Musashino (1951, Kenji Mizoguchi; Japan) 55
  • 023. (14 Jan) Kenji Mizoguchi: The Life of a Film Director (1975, Kaneto Shindô; Japan) 51
  • 022. (14 Jan) /Visitor Q/ (2000, Takashi Miike; Japan) 58 [Second viewing; no change]
  • 021. (13 Jan) Death in Gaza (2004, James Miller; UK) 57
  • 020. (13 Jan) /Million Dollar Baby/ (2004, Clint Eastwood; USA) 76 [Second viewing]
  • 019. (11 Jan) Clean (2004, Olivier Assayas; France) 61
  • 018. (11 Jan) While the City Sleeps (1956, Fritz Lang; USA) 58
  • 017. (10 Jan) White Noise (2005, Geoffrey Sax; USA) 34
  • 016. (09 Jan) Where the Sidewalk Ends (1950, Otto Preminger; USA) 68
  • 015. (09 Jan) Open Water (2004, Chris Kentis; USA) 42
  • 014. (08 Jan) Whirlpool (1949, Otto Preminger; USA) 60
  • 013. (08 Jan) Million Dollar Baby (2004, Clint Eastwood; USA) 73
  • s08. (07 Jan) Cops (1922, Buster Keaton and Edward F. Cline; USA)
  • 012. (07 Jan) The Tall T (1957, Budd Boetticher; USA) 71
  • 011. (06 Jan) Culloden (1964, Peter Watkins; UK) 57
  • 010. (05 Jan) Salaam Cinema (1995, Mohsen Makhmalbaf; Iran) 88
  • s07. (05 Jan) Dreams of a Rarebit Fiend: The Flying House (1921, Winsor McCay; USA)
  • s06. (05 Jan) Corner in Wheat (1909, D.W. Griffith; USA)
  • s05. (05 Jan) Leaving the Factory (1895, Louis Lumière; France)
  • s04. (05 Jan) The Sinking of the Lusitania (1918, Winsor McCay; USA)
  • 009. (05 Jan) The Beyond (1981, Lucio Fulci; Italy) 56
  • 008. (05 Jan) Tsunami: Seven Days That Shook the World (2005, UK) No rating
  • 007. (04 Jan) /Sherlock, Jr./ (1924, Buster Keaton; USA) 95 [Second viewing; no change in rating]
  • 006. (03 Jan) Street Angel (1928, Frank Borzage; USA) 92
  • s03. (03 Jan) How a Mosquito Operates (1912, Winsor McCay; USA)
  • s02. (03 Jan) Little Nemo (1911, Winsor McCay; USA)
  • 005. (02 Jan) The Visitors (1972, Elia Kazan; USA) 71
  • 004. (02 Jan) Drive a Crooked Road (1954, Richard Quine; USA) 74
  • 003. (02 Jan) Hana and Alice (2004, Shunji Iwai; Japan) 42
  • 002. (01 Jan) Forty Guns (1957, Samuel Fuller; USA) 69
  • 001. (01 Jan) Duck Soup (1933, Leo McCarey; USA) 67
  • s01. (01 Jan) The Music Box (1932, James Parrott; USA)
Author Comments: 

I've decided to eliminate ratings for short films -- it's just too hard assigning a rating to something like a 40 second long Lumière film. If I see a short that's particularly of note, maybe I'll say something about it. Or, if someone is, for some strange reason, dying to what I thought about one, just ask and I'll tell.

Why so harsh with Duck Soup? It's not really even my style of comedy and I thought it was very, very funny. I couldn't really see anything 'wrong' with it - that's for sure.

Wow -- someone else who isn't totally crazy about Duck Soup. I thought I was completely alone in the universe.

Yeah, you're not alone. And I suppose the ultimate blasphemy is that I just don't find Groucho Marx very funny. His style of endless puns theatrically delivered wears thin for me VERY quickly. It wasn't as bad in this as it was in "Animal Crackers" (which, with the exception of Harpo, I didn't like at all), but he still chews up way too much time with that stuff. I always find Harpo funny though.

I don't completely understand how this movie got such a sterling reputation -- some of the gags really hit, but, I mean, "funniest movie ever"? Hardly. Just in terms of early comedy, I'll take almost any Keaton, Sturges, or Lubitsch movie over it.

Ahhh, brothers of the revolution unite. I also found it not very funny.

"Salaam Cinema", eh? I thought the first half was unassailably awesome. Second half... not so much. Thought it kinda lost its way. Still worth a look, though.

By second half, I assume you're talking about when it introduces the two "lead actresses" no?

I dunno ... I found the whole thing damn involving. And not only that, but damn entertaining. The second half seems to deepen the playfulness of the first half from something fun but a tad precious into something more interesting.

And despite the first halfs' mostly whimsical nature, it seems the key scene is the one that really establishes "Makhmalbaf the Sadist" -- when he refuses the very human pleas of a woman seeking his aid because simply she's not an Artist. Since it purports to be a documentary, the fact that he doesn't even really listen to her on the level that a human would to another human seems, well, inhumane at first, but then the real movieness of the documentary is brought to light in the second half. Specifically, when the big, emotional performance of the two actresses is taking place, Makhmalbaf intercuts very timed, very melodramatically planned close-ups of the sound recordist, who's weeping.

Even though, like lots of Iranian movies, there are many layers of complexities to dissect, the pleasures of the movie seemed to be very simple to me. It's funny, dramatic, involving, and even moving. I definitely need to watch it again to get a handle on everything Makhmalbaf throws in there, but I can't see my appreciation of it waning at all.

I'm totally with ya on the first half though. One of my favorite funny bits: that dude who's singing opera or something, then Makhmalbaf tells him to cry, and he puts his head down momentarily like he's gonna do it, then jerks it back up and starts belting out opera again. :)

Little Nemo (1911, Winsor McCay; USA)

I had no idea this or any other Winsor McCay film even existed, let alone was available to view. I'm flabbergasted.

Yep, available on DVD. And certainly worth seeing if you're at all a fan of animation. They'd be fascinating to watch just from a historical perspective, but McCay had a beautiful, expressive style tuboot.

Re: Dazzling. If I could find super-obscure movies, I'd watch them.

Well, if all the more obscure stuff I've watched recently had blown me away, I'd be less eager to take a break from it. But since much of it has left me feeling lukewarm, I'm going to try my hand at some "confirmed" classics now and see if I get a boost.

Only a 55 for "#701"? Dude... but, but, but... the kabuki-fight shower scene! The lightbulb torture! "It's just your period. You probably haven't had it in a while."!

Heh, if it makes you feel better, there were times when I was feelin' like it was a mid-60s or higher flick. I did like it more than "Jailhouse-41", though.

I dunno, usually these types of things really click with me (see my fairly high ratings for stuff like "Lady Snowblood" and "Thriller: A Cruel Picture"), but it seems like there's always one-too-many woozy camera spin or cheesy fade effect or snarling face in extreme dutch angle in these "Scorpion" movies -- like the balance that makes movies like this usually work for me is a tad bit off. Basically, I loved it in bits and pieces, but only liked it as a whole.

THE LIGHTBULB TORTURE THOUGH! Yes! "Do you like that? Yeah, I bet it feels really good." Hehe, awesome scene, that.

Heh... I'm guessing we're standing on opposite ends of the spectrum then -- I hated both "Lady Snowblood" films.

I remember thinking during the lightbulb scene, "Wow, that's remarkably cruel and inventive yet quite simple. Why haven't any other films thought about that before this one?"

I've only seen the first "Lady Snowblood" -- most friends have recommended that I stay away from the second one.

Interesting that you hated it though. That response seems pretty rare in general.

I think the problem was that I saw the first "Snowblood" only a couple days after finishing the "Lone Wolf and Cub" series -- most films would look puny next to those, so that didn't help "Lady" any.

No arguing with you there -- the two "Lone Wolf and Cub" movies I've seen are incredible. I think "Baby Cart at the River Styx" is damn near a masterpiece.

57 is a rather low rating for an excellent film like Downfall, isn't it?

Well it certainly would be if I thought it was an excellent movie! ;)

But I don't. I thought it was interesting, and compelling in parts, but it felt very traditional and even safe for lots of its running time. And I think, given the material, the standard history-lesson way in which it's told doesn't work very well.

My biggest beef was with the use of Traudl Junge, Hitler's secretary, as the obvious point-of-identification. Every time a potentially controversial line is delivered, it cuts to Junge, whose expression (usually straddled between compassion and fear) is meant to telephone our exact response to what’s being said. Because of that, she, not Hitler, becomes the focus of the story. The problem doubles back on itself because, without succeeding in humanizing Hitler (which, of course, might not even be possible), we can't understand the compassion and love she feels for him. So when the music got melodramatic and I was supposed to care, the movie had given me no reason to.

I think for a movie like this to truly succeed on all levels, it would have to throw out standard notions of audience-to-character identification and adopt a different kind of storytelling. Someone like Peter Watkins, with his docu-drama approach, might be able to turn this material into something amazing.

Hate to threadjack, but have you seen Watkins' La Commune? It was here a week ago, in two parts. Didn't have the time to see it, unfortunately, but I really wanted to.

I haven't, unfortunately. I've seen a good handful of his earlier movies, and Edvard Munch has to be one of the most incredible bio-pics I've seen.

That's surely an interesting point of view.

However I really enjoyed the narration of the film and admire the producers' guts to make such a film. I think that even today it is difficult for most of the Germans to handle with this period of their history. But this movie eventually brings it exactly to the point where I expected it to come: the direct confrontation with the Germans' past.
Hitler (played by the brilliant Bruno Ganz) is (at least I felt it like that) humanized, but NOT justified in his acts. Making Hitler so human (by showing his physical and psychic problems) can just be positive. Again I precise not to justify or excuse what he has done. It is only to make people aware of the fact that Hitler was a human being. Megalomaniac and a mass murderer (which is hardly an appropriate expression), OK, but a man.
The direction is excellent (compared to German standard, not international, but even on such a scale, it is still convincing). Above all the scene where Goebbels' wife kills her children shows us Hirschbiegel's great talent.
And let us not forget the excellent epilogue.

OK, that is how I feel about this film, but I also think you get some points for your arguments. It's always refreshing to hear other people's opinions.

Hate to play the "jump on SteveR" game, but 68 is a rather low rating for an excellent film like Love Me Tonight, isn't it?

Unlike Downfall, you'll be pleased to know that I actaully did find a good portion of this movie excellent. 68 ain't too low a rating for a confessed musical-hater like myself. :)

I'd have to explain my fundamental problems with the musical genre in order to explain my "low" rating for this, so I'll save that for later. But suffice it to say, Love Me Tonight is definitely one of the best musicals I've seen.

Ah! I didn't realize you didn't like musicals. Makes sense now. Slowly unraveling the mystery that is SteveR... :-)

Maybe saying I "hate" them was a bit harsh, because I love music and every once and a while I'll see one that really clicks, but I usually feel like musical sequences are so inessential. The most common types simply explain the emotion that I know a character is feeling at a certain moment. It's like, "I know you're falling in love with this guy, I don't need to hear you sing about it for three effin' minutes! Get on with the story!"

Love Me Tonight, however, is quite well-paced and the songs integrate nicely into the story.

The Ring Two is as bad as reviews suggest, eh? Just to help me calibrate, what did you think of Ringu and The Ring?

Really liked both of them with a slight preference for Ringu. I even mildly liked Ringu 2. This new one is just a complete disaster. It's overproduced, underwritten, and damn near incomprehensibe. Not a single scare or moment of tension in the whole godforsaken mess.

I feel the same way about the originals, but with a slight preference for The Ring. I wonder if it's because that's the one I saw first? Which did you see first?

Well-calibrated, I'll be scratching The Ring Two from my to-see list, thanks!

I saw Ringu first. It does seem to be common that people prefer one or the other based on which they saw first.

The Link to your homepage doesn't work :-(

If you're using IE, you might have to refresh it a couple times. For some reason, it seems to not load everytime. Haven't figured out why yet.

Holy Moley!

That's the highest rating for New Rose Hotel I've ever seen.

Me too! :)

I know Rosenbaum thinks highly of it, but there don't seem to be many others.

I've never quite figured it out: what's so special about Rio Bravo?

Pretty much so everything in my opinion. I don't think I could sum it up better than Dave Kehr though:

"Howard Hawks's finest western (1959), and perhaps his finest film--but who wants to quibble on this level? John Wayne, Dean Martin, Ricky Nelson, and Walter Brennan hole up in a sheriff's office, there to protect a prisoner from a band of hired guns outside. But the subtly stylized setting soon becomes an arena for a moral battle, as the characters discover and test their resources of trust, skill, and courage, values poised against encroaching chaos. It's American filmmaking at its finest--clean, clear, and direct--and it's also the most optimistic masterpiece on film, valiantly shoring fragments against human ruin. Superb in every respect, from Wayne's performance to Russell Harlan's brilliant night photography."

I'd also mention the brilliant wordless opening few minutes: a skillful orchestration of gestures and concealed motives, challenging our initial perceptions of the roles of bad guys and good guys. To me, it's really more a movie about mood, setting, and acting than anything else. Lots of people seem to consider it an action-adventure, but there isn't a whole lot of action, and, compared to a film it influenced like Assault on Precinct 13, the sense of danger isn't nearly as pronounced. There are short gunfights, then things immediately return to a peaceful state. The faint sounds of background chatter and distant music have never felt so texturally alive. If the script wasn't so good, it would be at the very least a visually fascinating failure, but it's a damn near perfect script, giving each character room to grow without changing who they are.

So I have to turn it around and ask, what don't you like about it? :)

Well, the Western isn't my favorite genre in the first place, and then I've seen so many in the same mold as Rio Bravo that they all blur together and one doesn't stand too far above the rest. It's not so much that I have any problems with it, it's just not very 'special' and I've seen a dozen Westerns just as good, I think.

FWIW, I'm a big Rio Bravo fan; I think it's only below Winchester '73 and Once Upon a Time in the West for my favorite Western. But then, I dig any non-musical that has the guts to stop the story in its tracks for a song.

Yeah, I love that scene and I'm not even a fan of musical numbers! :)

Pretty low for Hotel Rwanda. I admire that! Although I liked it quite a bit more than you, I think that just because it's about the genocide in Rwanda people (and me) tend to overrate it. Same goes for movies about the Holocaust or ones that are politically themed. Curious though: What did you think of Hotel Rwanda the first time you saw it?

My opinion of it the first time was exactly the same. It strikes me as a really phoned-in, Oscar-baiting movie, with the exception of Cheadle, who gives it his all and really stands out.

Just because the subject matter is important don't mean the movie is.

Well put.

CSI: Season Finale (2005, Quentin Tarantino; USA) 41 [It's still just CSI...]

Well, I'll delete that space-eating block offa my TiVo, then. Bonus: I still get to say I've never seen an episode of CSI!

Yeah, and I think it'd be tough to find a harder-core QT fan than me. Honestly? Apart from one short dream sequence and a plot device that bears resemblence to a scene in a recent QT movie, this was just as anonymous as either of the other two CSI episodes I've endured. Either he chose to just stand back and allow the show to look and act the way it normally looks and acts, or the network had a vice-grip on his balls.

a) If Steve is going to count this in his count then so am I

b) One thing noteworthy about this episode is that CSI is rarely about things happening TO the characters but more about things happening AROUND them. Yes there are exceptions, but this one really struck a mood that I felt was pretty unique for the series. The closing scene was really good too I though. For you to expect him to make the show look and act differently is unrealistic, people like this show, why would he do that? If he made something completely out of the ordinary I would consider it a failure. I actually admired the way he integrated the show's history and standards into his own vision.

Well, it seems to be a tradition that big season finales on television dramas usually have more things happening to the primary players than episodes that take place throughout the year. I can't say I've watched enough CSI to really discern if there was a noticeable shift in focus, but it seemed par for the course with regards to TV shows in general.

And I guess I didn't expect Tarantino to change the show at all, just to crystallize its' good points or something. When someone so adept at genre manipulation and transfiguration steps into the ring and plays with something expected to be a certain way, there are usually at least reverberations of that persons personal ideas and motives. I didn't really see any of that with this. At least not enough to make a vital difference.

I know this is late in coming, but:
The Hitchhiker's Guide to the Galaxy (2005, Garth Jennings; USA) 42

Very good.

Glad Bigger Than Life got to you and you liked it. Now you're just one step closer to dying happy!

Also happy to see you liked Juggernaut and The Devil-Doll so much. I absolutely love the former, and I really enjoyed the latter, but I wish the first 10-15 minutes weren't so dodgy. Otherwise, I was shocked by how much better it got as it went along, the amazing sets, and the bittersweet ending surprised me. Lionel Barrymore rocks.

Batman Begins (2005, Christopher Nolan; USA) 58

Oh man, not you too. Did I get hit with the Scarecrow's hallucinogen or something?

You and every critic in America! :)

I liked some of the concepts behind the movie, and I liked Bale a whole lot as Batman, but the whole thing just seemed lifeless to me. Too much dull and plodding dialogue about fear that conveyed the same thing with slightly different phrasing each time. Visually, Nolan was firing blanks; okay'ed the dim cinematography, put the camera somewhere, then went to the snack room to eat twinkies and donuts or something.

The real pits are the action scenes. I dunno if it was primarily Nolan's fault or the fault of the editor, but someone should be taken to task for that. Jesus.

My feeling is that Nolan was real uncomfortable with the action scenes, not having directed anything quite like that before (I don't think the chases in Insomnia count), and maybe was putting his energies into everything else, hoping the action stuff would work itself out somehow. If the sequel is greenlit, and Nolan comes back (he isn't signed, AFAIK), I'd like to think he'll put more effort into them the second time around.

Alright, another positive rating for "The Wayward Cloud". God, I can't wait for this thing to show up Stateside.

It's now out on Taiwanese DVD, which is how I was able to see it. God bless imports.

Right now, it's by far my favorite movie of the year. It might even go up a bit on repeat viewings.

Aw, how can you not like Feathers in the Wind? It's so relaxing.

Yeah, I guess it could be called relaxing. I wouldn't say that's automatically a key to greatness though. I didn't dislike it, it just didn't seem very substantial to me. Korea produces likeable romances like this all the time -- seems odd to me that this one is being singled out and given so much praise.

Tiefland sounds dull. What impressed you about it?

Unlike ''Olympia'' and ''Triumph of the Will,'' Miss Riefenstahl's legendary works of pro-Nazi propaganda, ''Tiefland'' makes no attempt to address the politics of the day.

This statement is just downright ridiculous, and I have no clue how Maslin could possibly overlook how topical this would've been back in the early 40s. It was supressed, of course, until the 50s, and it's really surprising that Leni wasn't punished more for making a film that so violently denounces Hitler and the Nazi regime. I'd be really interested in learning more about the history of the film and what the repercussions for those involved with it were. I know it was filmed in Austria instead of Germany -- does anyone know if Riefenstahl had fled Germany at that point?

Anyway, since I'm pretty apolitical when it comes to judging movies (how can one not be in our current climate? -- every stupid documentary that comes out would be a masterpiece otherwise), the high rating is solely attributed to the movie itself, which is quite beautiful. Riefenstahl keeps the camera in almost constant motion, but the movements aren't grandiose -- slow push-ins to softly-lit faces or doors that quietly open to sterling exterior shots create an intoxicating mood of awakening. It's not surprising at all that Jean Cocteau loved it and pressed for it to be shown at Cannes. I actually watched it more like a Cocteau movie than a standard narrative film, even though it very much so is a narrative film (Maslin is right that the story itself is, at times, a bit clunky). It feels like there's a veil of the surreal over everything that happens, which I guess is appropriate for a movie that envisions the violent death of a tyrannical leader at the hands of his oppressed -- merely a dream at the point it was made.

I'm sad to see you weren't impressed by March of the Penguins or Gunner Palace. And, what keeps getting better for you every time you see Million Dollar Baby? I was quite disappointed by it.

I've always been sorta strange when it comes to documentaries. I get excited about them if the subject matter interests me, but they rarely ever transcend the documentary format to become a good film. There are exceptions, of course -- those two definitely aren't.

MDB has certainly gone up for me on repeat viewings, and I'm honestly at a loss to explain why. Not so much why it's appreciated with multiple viewings, but why it wasn't so high in the first place. It's one of those instances of a movie that I didn't seem to fully take in the first time, for whatever reason. Repeat viewings have been less a revelation than a settling-in -- sort of like I loved it since the beginning, but am gradually getting used to it.

Not really much of an explanation, I know, but it's all I've got for now. :)

"40 Year Old Virgin" not all that, huh? I was thinking of blowing money on it next weekend -- what's wrong with it?

Yeah, I'd like to know too.

Also, the new Eli Roth ain't all that... who the hell is surprised, really? (Can somebody please explain why the horror community is up on this guy's stick?)

Oh wow, I didn't even notice the new Eli Roth up there. I want the dirt on this, too!

"The 40-Year Old Virgin" struck me as low-rent Farrelly Brothers stuff -- like the ones they produce but don't direct. I went in expecting quite a bit, especially after being very pleasantly surprised by "Anchorman", but it's really just a shit, run-of-the-mill gross out comedy. There'll probably be some people who like it more than me, but I can't see it developing any of the kind of following that "Anchorman" did. It just ain't on the same level.

About the new Eli Roth... firstly, I have to mention that it was a test screening, so there were incomplete CGI effects and distracting music cues from "The Matrix" and stuff like that, but that aside, it seemed pretty complete. And holy shit is it bad. I was no fan of "Cabin Fever" (I think I gave it a rating in the mid-30s or something), but this one is just nearly unwatchable. It's so awful that I'm inclined to think the only reason it won't be finding itself an immediate home as a straight-to-video release is because of Quentin Tarantino's name as a producer -- that's the only reason. The best part is a 15-second cameo by Takashi Miike, but even that only serves to intensify the feeling that Roth just watched a bunch of slow-burn Asian horror movies and completely fucked up in apeing them.

I could say more about it (lame gore, cheesy soft-core porn sex scenes, hideous acting), but it's ain't worth it. Eli Roth is offically on my shit-list.

You don't rate shorts, but what is your impression of the Peleshyan you've been watching?

That his stuff is astonishing, revelatory, and sadly ignored.

Shoot, then: yet another obscure film artist for me to track down!