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quick & painless [22 Feb 2009|04:05pm]
Oscar predictions, for shits n gigs...

Would like to get it (to keep their papers flat/doors open): Langella / Rourke (this was Lang's best role, well, apart from Skeletor... Rourke's Donatella Versace turn was nifty)
Will get it (because that's how it goes): Rourke, or poss. Penn.

Like to get it (to keep their papers flat/doors open): Streep (just for turning to Hoffman and saying, "you will lose," in a really pissed off and superior way, and for having her certainty!
Will get it (because that's how it goes): Winslet (meh)

supp. actor
Would like to get it (to keep their papers flat/doors open): Shannon (coz he's generally ace and for livening up a dull set of scenes called a film: cigarette, argument, cigarette, argument, cigarette, argument, glass of juice, cigarette, argument, cigarette, argument, cigarette, argument, Shannon being ace, cigarette, argument, cigarette, argument, cigarette, argument...etc
Will get it (because that's how it goes): Ledger (because it's the law... apparently)

supp. actress
Would like to get it (to keep their papers flat/doors open): Davis (did you notice how Streep shut up quite a lot during that scene?), or JANE LYNCH IN ROLE MODELS!!!
Will get it (because that's how it goes): Cruz (ok, but better killing peeps and showing bust off, moaning about ghosts farting in Volver)

Would like to get it (to keep their papers flat/doors open): Van Sant/Fincher (both for making a few scenes look good)
Will get it (because that's how it goes): Boyle (though maybe not...)

Would like to get it (to keep its papers flat/doors open): no preference (if pushed, Ben Button, not the whole thing JUST for the scenes set in Russia that had Tilda Swinton/midnight meet-ups in hotel kitchens/stories about not getting to swim the channel in them)
Will get it (because that's how it goes): Slumdog, duh (but let's see what folks say in a year or two's time, hmmm...)
5 comments|post comment

Billson 2 [20 Feb 2009|11:40pm]
Films for people who don't really like films, from Jan. 9th

"People who don't view cinema as a viable artform are only drawn to films that have been slapped with a cultural seal of approval: critically approved source material, or directors who have made their names in more venerable artforms, such as literature or theatre. They wouldn't dream of going to see thrillers starring Jason Statham, or comedies starring Will Ferrell, or horror movies starring no one anyone's ever heard of, though I would argue there's likely to be more true cinematic feeling in such movies' little fingers than in the entire bloated corpus of Atonement or Proof or Possession (and I'm not talking about the one where Isabelle Adjani has sex with a tentacled monster)."

The whole thing needs to be read really, but this is telling, penetrative commentary. I likes her.
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I agree with this [20 Feb 2009|11:30pm]
One of the best, Anne Billson.
Where are the meaty comedy roles for women?

More Of Anne Billson's Guardian columns right here

If anyone knows where and how I can get hold of a copy of her book Spoilers, please let me know.
6 comments|post comment

Ye need to hear about this [11 Feb 2009|09:01pm]
Awesome mid-February news:

Werner Herzog is making a new film, My Son, My Son, What Have Ye Done (wicked, nice title). David Lynch is producing (extra wicked). It's apparently a horror film (a Herzog horror? Extra extra wicked) loosely based on a true story about a San Diego man who acts out a Sophocles play in his mind and kills his mother with a sword, shot on DV (sounds interesting).

The cast confirmed: Michael Shannon (one of today's best), Chloë Sevigny, Michael Peña, Bill Cobbs (all pretty nifty), Willem Dafoe (always watchable), Brad Dourif, Udo Kier (now this is sounding fuckmazing) and... and Grace Zabriskie (awesome x awesomefuckmazing). Shannon is playing the son; Zabriskie, the mother.

10 comments|post comment

My picks for 2008's top films (and then some other bits, too) [09 Feb 2009|08:16pm]
I haven't posted in an age, but I wanted to just post up my picks for the best flicks of last year. There's top 10 films, runners-up stuff, M/F acting, worst, disappointments and unexpected gems, too. Though there's no waffle about the lists this year, as I have done - or, more to the point, will do - write-ups on my film blog, which is where I do all of my film writing nowadays (and which I'll link to as soon as I've finished doing some final tweaking and adjustments and the like). I can add thoughts, if so choose you, in the comments bit below, where you can ask quite what exactly I think I'm playing at, young man.

All these flicks, by-and-large, were released theatrically in the UK between Jan 1st and Dec 31st '08 (though some were "premiered" on DVD, and some may have been shown first on the telly). Some picks were a complete surprise, others were entirely expected, but all either made me think, feel, laugh, and a bit more besides. You get the picture.

2008 was actually a pretty good film year. I had more thrills than complaintsCollapse )
22 comments|post comment

Davina is coming to get you... [18 Oct 2008|05:00pm]
Oh shit yes.

Yes please.
6 comments|post comment

"You're going to Camp Blood, ain't ya?" [29 Sep 2008|02:55pm]


This has been remade into this. The name remains the same: Friday the 13th. I only found out about this the other day. It could be a sack of shit. Its director, Marcus Nispel, is a particularly slick filmmaker who puts a sheen of unnecessary glossiness all over his films, which means it could be tired. Very, very tired. But then again, Sean S Cunningham is executive-producing it, so he may just nudge it in the right direction. So it's an either way thing as far as I can see. We'll find out in about five months...

The poster, which would look very nifty on my door, kind of hints at the latter though:

It's a sexy poster, but not quite as amazing as the original's or its sequels'.
3 comments|post comment

BFI-related post 2 [12 Sep 2008|03:08pm]
So, the BFI (am I, like, on a mission or something?) is celebrating their 75th birthday this year. Maybe that's why they've put the extra effort in to have a standout festival line-up, who knows?

They're running this thing called Visions of the Future, where they asked 75 key media figures two questions and then published their responses.

These were the films chosen. You can VOTE for one of these films yourself, or submit your own (bottom of page in link).

So, carrying on from that book post I did the other day, I wanted to pose these very same questions to you:

Q1 Which one film would you wish to share with future generations?
Q2 What excites you about the future of the moving image?

I wanna hear from you...Collapse )
5 comments|post comment

BFI-related post 1 [12 Sep 2008|12:11pm]
Nice. The line-up for the London Film Festival '08 has been announced. There are some great looking titles in there. They usually get a fair few nifty titles in their selections, but this is the best line-up I've seen there for quite a few years. I think some of the films have played in fests. in various countries already - the US, France, Berlin, Canada, and so on... some were at Cannes, Toronto etc - but for London, which is always pretty late in the calendar (being in October this year, usually Nov.), this is pretty stellar.

They've got a few high profile - and politically-based - titles that will grab attention: Ron Howard's Frost/Nixon, Oliver Stone's W. and Steven Soderbergh's Che double feature, for example, but I'm not that fussed about these; all three (four?) will get wide releases in the new year here anyhow. It's worth trying to catch some of the ones that may not get a general release here (cinema distribution being what it is in the UK... hmm, that's another story, another post), or the ones that will most likely take f...o...r...e...v...e...r to come out. The line-up is really good, and I'm still sifting through what's on. I just wish that the ticket prices weren't so feckin' steep; the highest is £25(!) And the average is about £11 (Swinton, why aren't you in charge?), which means that I may not get to see very many, if any, at all, due to the overall pricey-ness and work commitments.

Anyway, here are some links of ones that look rather nifty (and also here so I can keep direct links in one place, in the unlikely case of me coming into some spare cashola):

Lion's Den, Nick and Norah's Infinite Playlist, Sex Positive, Touki Bouki
The Class, Frozen River, Adoration, Nathaniel Dorsky, Divisionz
American Teen, Beautiful Losers, Vicky Christina Barcelona, Jay, Parc
The Silence of Lorna, Medicine for Melancholy, Must Read After My Death
Tokyo!, Three Monkeys, Cloud 9, Hamlet 2, Awaydays
Goodbye Solo, The Feature, A Lake, Of Time and the City

Here's the full A-Z list of films showing.

But this lot look ace above ace...Collapse )
4 comments|post comment

Tilda and The Ballerina Ballroom Cinema of Dreams [11 Sep 2008|03:14pm]
Thanks to all who added some thoughts here the other day. Literature as an artform and artform as literature seemed to have been a theme. And with many shades of variety in between. As well as giving me some cracking new suggestions to look into (many, if not most, have been added to my online list of 'must read's), it let me - and others - into a few reading habits and styles. Good stuff.

There's a really insightful look into the role of the critic ("Who Needs Critics?", pp 16-26) in October's Sight & Sound* that's more than worth a browse. As well as what traditional print criticism means now, it takes a look at how film reviewing and criticism (some who contribute to the articles differentiate) have been altered by blogging. Many of you might find it interesting. (* the link takes you to September's edition; October's hasn't been added just yet, but the link is here anyhow)...

... there's also a great small article in it about Tilda Swinton's and Mark Cousins' new film festival, The Ballerina Ballroom Cinema of Dreams. It ran between 15th-23rd of August (Here are three links with some more about it). Shame I only found out about it yesterday... but hopefully it'll be an annual event. It's in Nairn (Swinton's hometown) on Scotland's Moray Firth: tickets cost £3, or if you baked stuff and brought it along you'd get in free; the cinema was furnished with beanbags and deckchairs instead of typical cinema seats; and if there was a big queue Swinton handed out free cakes! It was all ages and active audience interaction was encouraged, too.

Bless her, but somehow I can't really see Catherine Deneuve handing out slices of Battenberg and mugs of coffee at Cannes.

Some of the films shown seemed to nicely fit into the ethos of the event (the links will tell you more): Powell & Pressburger's I Know Where I'm Going!, Murder Most Foul (Margaret Rutherford as Mrs. Marple), Ozu's I Was Born, But..., Henry Hathaway's Peter Ibbetson, Djibril Diop Mambéty's Hyènes (I would've travelled up there just to catch this!), Mohammad-Ali Talebi's The Boot, and so on... also, the Coen Bros. selected a couple for it, too: Ray Enright and Busby Berkeley's 1934 kaleidoscope musical Dames and Akira Kurosowa's High and Low.

Most fests have themes or agendas that they adhere to for some screening strands, which show a commitment to seeking out new trends, variety in world cinema and the rediscovery of older gems and the like, but what I really love about the sound of this one is that they do all that (kind of... not sure about the 'new trends' thing, but hey), but there is a clear idea of personal selection (without being too self-centric specific or non-inclusive). Being made aware of the presence of certain films that you may not have otherwise been aware of is a criteria for any good, and individual, festival. Some of the films above might not get screened anywhere except at events such as this. I love Tilda.

Anyway, it looked a whole lot better than what the Cambridge Film Festival has on offer, in its new slot - 18th-28th Sept. The line-up this year is very, er, lacklustre shall we say? I haven't fully looked into the entire list of films, but at a cursory glance it doesn't look too exciting. I went two consecutive years as a viewer and one as a writer, and it was a blast, but why the move from early July to a week's time? For one, I can't go due to work, and secondly, positioned nearer the end of the year it may get a bit lost and forgotten amid many other, bigger fests coming up, like BFI's own London Film Festival. July was a good time for it. Now, their outdoor screenings may get rained off... or, well, more so than in July - it can certainly rain by the fuckload here in July... and the attendance figures could be in jeopardy. I may go with dandywalker and catch a couple of films on one of its weekends, but its doubtful. If the LFF wasn't so expensive (£10.50 and upwards for a ticket!) I'd go to a few there. Ho hum.
2 comments|post comment

Don't worry, be happy [09 Sep 2008|11:57pm]
dandywalker with a complete nerve just casually, on a whim like, mentioned that that Large Hadron Collider thingy will be activated tomorrow. "OK," I said, "I'm just nipping upstairs to, er, get a, erm, a pair of socks. Yeah. Socks."

Or come to my journal and spread my fears like fucking wildfire.

Thing is, they say this could be the most intensely exciting scientific event to happen in recent times. But, if like me you're a worrier, a panicker, a-bordering-on-OCD-level Olympic-grade paranoiac or, now too, a reluctant alarmist, you'll be hiding behind the biggest, sturdiest, lead-lined, industrial-strengthened, but cleanest, sofa in existence. With a bottle of pills, a crate of Glenfiddich and a shotgun.

In reality I'm FREAKED OUTTA MY FUCKING WITS fine, just fine, and intrigued to the nth degree. Yes, I may be in bits, but I'm also curious as to these two "possible outcomes", reported here.

"Some critics say the experiment will create 'black holes' of intense gravity that could implode the Earth..."

OhmyfuckinggodRUN!............ but, erm, where?

"...or that it will open the way for beings from another universe to invade through a 'worm hole' in space-time."

Ey. Hell yeah. Wicked. In that case I'll definitely take it.


But really, Stephen Hawking is a genius. I saw a documentary earlier in the year in which he discussed all this. And if he's cool about it, then, man, I'm cool.

Yes. I'm... fine.

(and I swear I had no clue when I posted this film on thedailymovie today?)
11 comments|post comment

Five books [09 Sep 2008|09:59am]
A thing I was thinking about the other day: if I had to just choose, say, five books to archive as my most meaningful or favourite or whatever I'd have to think about it quite hard. I've heard people asked it before - they do it with various guests on Radio 4 I think (or is that songs?...), and they're famous types so I guess we're supposed to find it interesting; I want to know what us non-celebs would choose. It's a tricky one, esp. with there being, like, plenty more than five good books out there of course. I'm not off to a desert island with a very small suitcase and an empty timetable or anything; no one's actually asking. But I wanted to. So I'm putting it to you guys. I'm interested in what reading matters to folks in this regard. And it also may bring up a few new titles for people to look into. So...

Which five books (fiction, non-fiction, everything in-between) would you select, if required to, as your most meaningful or most loved (or if you were indeed packed off to a library-less island)?

I'll have a think and post five, too.
41 comments|post comment

If they are men [07 Sep 2008|08:55pm]
I've just finished watching God on Trial, a BBC2 TV film about a group of Auschwitz prisoners who, with half of them in a bunkhouse about to be selected, debate the whys, ifs and whereabouts of God. Cheery stuff eh? But it's a riveting, goes-without-mentioning upsetting and exemplary piece of drama. It's also engaging in a apt, albeit stark way, and it brings up some absorbing questions. This kind of 'filmed play' type drama can in great part succeed on the quality of the acting, the reliability of the cast to convey precisely what the writer maps out, and this lot are seriously good and faultless and more... so yeah, jus' watch it.

BBC iPlayer has it up still, although for how much longer I'm not sure (I think they keep them on there for up to a week after the original broadcast date - which was last Wed. on BBC2 UK).

Here is an interview with its writer, Frank Cottrell Boyce, which is worth reading... and one or two reviews/comments on it (best left 'til after seeing it).

Now I think I should go and watch this now.
4 comments|post comment

Elegant company in a painting [07 Sep 2008|04:51pm]
As a follow on from the Seurat thing the other day, here, below, is another gem that now means a lot. This one came out of the blue. Again, I saw it at at the MoMA last year and was struck by how boldly gaw-jus it was. I'd never been into, or, to be honest, been really that aware of most 18th Century French art, esp. rococo painters, so it was a fluke and a surprise that I took to it. During college courses back then I'd usually greet this kind of work with, "ugh, old, whatever," but its appeal now is most likely due to the fact that that I'm a bit older now me wanting to admire and get into stuff that initially passed me by and/or may just make a fresh departure from the (ironically) samey contemporary stuff that we are persuaded to suggest to students now; that despite the age and immediate stuffiness of the work in question, this is in some way more of a novel departure and clearly still relevant. Anyway, it's probably sheldrake's fault. She bought me a Turner book for Xmas year before last and this has kinda set me off. Well, that and the fact that I saw the TV adaptation of Alan Hollinghurst's The Line of beauty (a book I've always avoided) recently... with characters talking about, uh-huh, lines of beauty in art and furniture and mirrors n shit like that. It kind of got me thinking about all these smaller, finer points...

Also: I didn't realise when I saw it, at the Fitzwilliam Museum in Cambridge whilst on a college trip, prior to the NY visit, that this one was also by Pater. It has one of the best titles, too:

Elegant Company in a Park

There's obviously something in these paintings that's striking a chord: the faint v of light in The Fair at Bezons, below, is shaping the way we look at it, directing our eyes to notice that it's the two women in pale dresses that are its rightful focus; everything around them is perfectly in tune and in the right place to show them off and make the painting work wonderfully. Everyone looks stone drunk, too; they're clearly buzzing their nuts off.

So if you have some time spare between lunch and the rest of your life, take a squizz at this:

The Fair at Bezons, ca. 1733
Jean-Baptiste-Joseph Pater (French, 1695–1736)
Oil on canvas; 42 x 56 in. (106.7 x 142.2 cm)

I wanted to post it up and look at it today because of the date:

This fair, held annually on the first Sunday in September in a village near Versailles, inspired several artists of the period. The theme was used for a stage play as early as 1695 and also by Favart for a ballet-pantomime in 1735. Pater was a pupil of Watteau, whose works inspired this large composition. A smaller version dated 1733 is at Sans-Souci, Potsdam. The group of commedia dell'arte players at the left in the middle distance, including the white-suited figure of Gilles, reappears in another painting by Pater entitled Procession of Italian Comedians (Frick Collection, New York). In his own day, Pater's reputation was very nearly equal to his teacher's. Frederick the Great owned over forty of his paintings. The Fair at Bezons is frequently cited as Pater's masterpiece. (from here)

Nice innit.
7 comments|post comment

...also... [06 Sep 2008|08:53pm]
...here, again in the Guardian, is a small supplement to the thing I posted the other day about the Carol Ann Duffy knife poem hoo-ha. She's come back with a riposte in the form of... another poem. It was actually on the front page... albeit in the bottom left-hand corner of the paper. Seems like they're trying to squeeze more out of it than it had in it in the first place.

Can't say I like this poem any more than the "offending" original, but I kinda see why she's responded the way she has. It all sounds a bit silly really.

And so does this:

2 comments|post comment

Lady Sat on 'Er Arse Wiv an Umbrella [05 Sep 2008|03:56pm]
This little gem here is one of my favourite drawings.

“Seated Woman with a Parasol”
(Study for “A Sunday on La Grande Jatte.”)
c. 1884-85
Conté crayon on paper.
Georges Seurat

There's a little bit of info. on it here.

I saw it in the real live flesh at the Museum of Modern Art in New York over Xmas last year. I'd always really liked it - and his work generally; the drawings in particular - but I didn't know there was a Seurat retrospective on when I was there until I was in the door. Bingo.

It was great to see his work up close, as I'd only seen them in books. dandywalker and meself wandered around until we found the Seated Woman. I took in the others of course, but hey, ya know, I was on a quest for this one. It's really amazingly beautiful up close. The effortlessness of it. The black crayon on white almost tricks us into seeing a colour in there (and heh, not just grey), particularly on the neck, dress and boobies. It's quite a modestly-sized drawing but that keeps the hazy feel of slightly removed intimacy intact; it feels like we are positioned a few feet away, watching the woman watching someone else. In other words: it's a corker!

This is also a good example of how I can look at things in a technically wrong way.

I never knew it was an initial study for a greater (and, heh, more famous) piece before seeing this show. Or perhaps I did but didn't quite, like, know it (I don't teach art history - this is my shallow defence). But the drawing was always wonderful as a stand-alone piece to me. It's an occasion where looking in a limited capacity at a fraction of something gives me more insight and pleasure than seeing the whole thing.

I haven't (until now) researched into it enough to sniff out if there is any solid narrative or meaning or whatnot in there. That'd usually be something I might do for work, not pleasure. I did look at the painting it was a preliminary sketch for though, and I actually like the drawing a whole lot more than I do A Sunday Afternoon on the Island of La Grande Jatte. The finished painting is most probably a masterpiece, as is often mentioned, but the quick study, the Seated Woman, is no less a great work, which is why it was all kinds of ace to see it (with many other initial sketches, and more besides) get championed anew in the MoMa show. The parts that go toward the whole can be infinitely more interesting sometimes.

I have no need for a sea view, for a sea view I have no needCollapse )
2 comments|post comment

Sense and Censor-bility [05 Sep 2008|09:24am]
From today's Guardian:

Hmm. British exam board the AQA have called for copies of a Carol Anne Duffy poetry anthology to be destroyed because it refers to a bread knife. Seems the AQA don't want anything hanging around their schools with any kind of reference to "street crime" in it.

The best bit about it though is that the call for it to be destroyed came about because there were three complaints. Oh yeah, thuh-ree: two about the knife and and one about the description of a goldfish being flushed down the toilet.

It's weird that the first of these three "widespread" complaints was made in 2004. Four years and three complaints. Shouldn't the AQA be focusing all their attention on more pressing things like, oh, invigilating exams?

They see the word knife and it's like a beacon of violent despair. I don't know, maybe some schools need teachers better equipped to interpret the content of poetry, or maybe because it is a poem, and not, like, one of them major classics, they thought it'd be OK to dispose of it, that originally no one would either care or notice - 'cause surely kids won't give a shit about poems, yeah? Hide it away, yeah, and all this silly-daft knife violence that the UK has recently seen more aggressively emerge will go away too. Under rug swept. I mean, it is a mere drop in the ocean in debating the overall problem of knife crime in this country, but it is telling and it speaks volumes.

In defence Duffy's literary agent, Peter Strauss, brilliantly, concisely says:

"It's a pro-education, anti-violence poem written in the mid-1980s when Thatcher was in power and there were rising social problems and crime. It was written as a plea for education. How, 20 years later, it had been turned on itself and presented to mean the opposite I don't know. You can't say that it celebrates knife crime. What it does is the opposite."

And Children's laureate Michael Rosen (quite nicely) chirped in with:

"By this same logic we would be banning Romeo and Juliet. That's about a group of sexually attractive males strutting round the streets, getting off with girls and stabbing each other."

And here is a comment on it by Guardian blogger Richard Lea.

I can completely see the cause for all the furore though. Flushing fish down the toilet is such a touchy polemical topic in this country.

Anyhoo, the poem is pasted under the cut for your perusal. What do ya make of it?
Education for LeisureCollapse )
14 comments|post comment

Vote Asia [29 Aug 2008|06:22pm]
These new Batman flicks are alright aren't they? A bit of a giggle (sorta). A bit daft in places and a bit excitin' in others. They look OK, with all that typically moody cinematography, all those nifty little hooks and gadgets and things that make the proper fans go weak at the knees, and all that freakishly scary gerning that goes on (and that's just Morgan Freeman). They have both managed to rake in plenty of cash and been talked about and mulled over to within an inch of their existences. There's been plenty of po-faced discussion out there as to possible future instalments and what could happen in them, and the like. It's all very well and good if you give a shit. But I want to know: Will any of it be surprising? Are they planning anything that mucks with the template?

People are surely demanding The Penguin (to be ideally played by some fat Oscar winner probably) and/or The Riddler (to be ideally played by some thin future Oscar winner probably). People are most likely demanding [insert multiple other Batman foes] (I don't know the names of any of the others) to be ideally played by the latest Hollywood jock/hunk with a bad-boy rep probably. So far we've had: in the first one, a wooden Liam Neeson as some kind of father figure who's, like, really strange and mystical or something, and also an errant - and possibly sexually impotent - guy with an ASBO and a potato sack on his head; and in this new one we've got Heath Ledger's tightly-wound, little-brother-gone-off-the-rails-style much-praised Joker, and a man with two heads - one all dashing 'n' that like an '80s catalogue model, the other all crispy. It's a pretty gloomy roll call; likewise, Batman lives in a pretty gloomy environment. But what about adding something a little more felid into the mix? Why so masculine?

I think it's a bit too darn manly.

Don't you think these flicks really lacked a decent female presence? Someone who could not only kick ass alongside - or better than - Christian Bale dressed as a nocturnal flying mammal, but also someone who could add a touch more pouty, slinky vigour?

I mean, Katie Holmes went down, critically and commercially, like a sack of shit, and could barely perform alongside a telephone let alone a co-star; and Maggie Gyllenhaal, as talented as she is, only really wore a few dresses, danced about a bit and [left the film] about two-thirds in. That just left Gary Oldman's wife - who, actually quite hilariously, in the newer film only ever opened doors to people in floods of tears (I bet if someone had sent a nice singing telegram to her doorstep she'd have done the same) - and Gary Oldman's police partner, who didn't get the chance to do very much at all apart from dob someone in and receive a smack in the face for her efforts. Tut-tut boys. Those Nolan bros. do write some stern and virile stuff for sure. But Batman needs mothering. He needs to be pussy-whipped. He needs to be slapped around a bit.

Batman needs fucking with.

So, if you are saying, "oh, why yes Craig, I see how correct you are in this pointlessly trivial post. The possible new Batflick does indeed need a superior lady character to spark things up a bit", then this is the right place for you.

Yup, this is my all new noblemost likely futile attempt in creating a(n) completely unofficial page for NOMINATING ASIA ARGENTO AS THE NEW & FUTURE CATWOMAN IN THE NEXT BATMAN FLICK (IF THERE'S EVER GONNA BE ONE, AND IF THEY DECIDE TO BOTHER WITH CATWOMAN AT ALL).


Yes, people with far more business savvy than I, financial sense and/or fanboy masturbatory inclinations will cry, "I want Emily Blunt or Kate Winslet! Rachel Weiss! Kate Bosworth! The Olsen twins! (who could alternate, Buñuel-style, in the role - one could relieve the other if they get too confused). I want that vacant blond Hollywood headline-grabber from that overpraised sci-fi TV show currently mopping up ratings!" But will any of these people stand out? Will they bring something different to the table other than what's already been done before with the role? How interesting would they be? Not very. They're all, by-and-large, really rather boring. I say Vote for Asia. She's frankly better than any number of carefully considered "top-draw" A-listers that casting agents would dredge up. She's better than them all.


Watch Land of the Dead to see her dispatch villainous hoards of henchmen (well, zombies) with a kick, thrust and punch (Sock! Pow! Zap! Ker-smash!); watch the trailer for Une vieille maîtresse - or indeed the actual film - and see her casually dismiss mere mortals with a flick of the wrist, whilst dressed in some ridiculously elaborate, yet fantastic, costumes; watch her dad's latest horror flick, Mother of Tears, and see her brilliantly interact with some gory special effects; be enthralled as she acts everyone out of an artfully reconstructed Versailles in a quarter of everyone else's screentime in Marie Antoinette; watch her s...l...o...w...l...y get out of bed and walk around a little bit in Last Days; or watch Trauma, Boarding Gate, Demons 2, The Stendhal Syndrome, The Heart Is Deceitful Above All Things and Scarlet Diva.

She's got the voice, the muscles, the stamina, the femininity and, above all, the perfect look to add something that touch more lithely carnivorous to this testosterone-heavy franchise.

She'll fuckin' own Gotham town.

Pick and click on some button somewhere, anywhere else on the World Wide Web to show your support (I'm too lazy to make a poll-thingy). Or just comment below with yay (nods) or nay (boo) reasons.

(If not Asia, then my second choice is Bella Emburg.)
21 comments|post comment

I'm dying in this town! [09 Jul 2008|03:56pm]
The Hours. The Days. The Techno.

8 comments|post comment

Posting (and then clicking on) a ribbon donates $10 to the Alzheimers Association [20 Jun 2008|08:53pm]

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