Frances Ha (2012) ****

Refreshing and delightful character study of aimless 20-somethings in NYC. Smart, restrained, confident direction from Noah Baumbach and a breakout performance by Greta Gerwig.

Some Came Running (1958) **

Late '50's lurid melodrama made much bigger than necessary. But Shirley and Dean give you a reason to keep watching until the boffo finale.

The Perks of Being a Wallflower (2012) ***

Pretty good coming of age flick comes right to the edge of maudlin sentimentality several times but somehow manages to avoid it. Ezra Miller helps a lot.

Monsters University (2013) ***

The animation capabilities of Pixar continue to expand even as the stories start to peter out. Enjoyable for the technique alone.

Croupier (1998) ***

Stylish, noirish tale of a writer who takes a job as a croupier at a London casino. Or does he? It gets a little too vague for its own good but maintains interest.

Kiss Me Deadly (1955) ****

Watch this and try to believe this film was made and released in 1955. Goes places with style and panache that modern films can't touch. Robert Aldrich pulls out all the stops in a tour de force directing job that elevates the material instead of overwhelming it.

Pi (1998) ***

Taut, stylish examination of obsession, madness and the possibility that there is a pattern to it all.

Lured (1947)**

A top notch cast are not enough to push this run-of-the-mill serial killer on the loose thriller into the upper tier. You'll be able to spot the murderer easily.

The Wages of Fear (1953)**

A few striking scenes, original for its time, but weak performances and a completely ridiculous ending are too much to overcome.

Midnight Cowboy (1969)***
Gritty and harsh view of life in The Big Apple for a couple of determined low life drifters desperate for a free ride to Miami. Hoffman is terrific.

8 1/2 (1963)****
There's almost too much to like in this tale of a film director suddenly feeling bereft of inspiration. Many fine set pieces, some more successful than others, but always with a great visual sense. It is too long and repetitive at times, yet a lot of influential and beautiful scenes.

The Bling Ring (2013)***
Almost documentary style look at a group of young house burglars who target celebrities. Subtle and relentless with Sofia Coppola's trademark soundtrack touch and eye for human behavior.

Sorcerer (1977)***
Gritty adventure yarn about desperate men in a desperate situation. Becomes more surreal as it goes along but always with interesting visuals, production design.

Upstream Color (2013)***
Thought provoking, disturbing, meticulously designed and shot, original and no super heroes! Paced at breakneck speed which tends to distance the viewer from the already challenging material and will leave most film-goers cold.

Lulu on the Bridge (1998)***
Incredible cast in a strange tale of a musician who has his life changed by mysterious events. Mira Sorvino is exceptional in this offbeat, well written but cautiously directed film.

The Adventures of Mark Twain (1985)****
Superb "claymation" film based upon the writings of Mark Twain, particularly his later, darker period. Fine voice work, literate and focused script, colorful, fantastical animation.

The Last Wave (1977)***
Aboriginal dreamtime seems to merge with real time in this well made Australian thriller.

The Assassination Bureau (1969)**
Alternative history of a turn of the 20th century group of wealthy murderers-for-hire played for laughs. Well, the genteel Ealing sort of laughs. Colorful and well shot, with a lovely Diana Rigg.

Margaret (2011)***
Thoughtful, meditative, somewhat oblique drama mainly, but not entirely, about an upper middle class NYC teen girl coming to terms with mortality and guilt. Very long but plays like it should be longer. Many riveting performances of a superb script, but teenage angst, no matter how well played, isn't my idea of great entertainment.

Ice Age: Continental Drift (2012)*
Are they still making these? Whatever for?

The Day of the Locust (1975)**
Terrific final 15-20 minutes, but the l-o-n-g road to get there hardly seems worth it or even connected, logically, to it. Nobody to care about, nothing particularly interesting visually, no transcendent performance. Just that ending really.

Cannery Row (1982)**
If you've read the novel Cannery Row be advised that this move is actually based more on its sequel Sweet Thursday. It has some very good actors, and some good atmosphere, but fails to really bring the characters to life like the novels did. They remain cardboard cutouts in the film.

Teddy Bears' Picnic (2002)**
All-star comedy cast in a deadpan satire of elites on "retreat". Sharply written, but there's nobody to root for in this uber-cynical world. Plays more as a documentary than comedy.

The Center of the World (2001)*
Another disappointing feature from director Wayne Wang who hasn't really yet made a film as good as his first. Maybe if Catherine Breillat had seen this film first she wouldn't have attempted this with which it has a lot, unfortunately, in common. Forgettable, despite a very good performance by Molly Parker.

Re-Animator (1985)**
Pretty good gross-out/zort-of-zombie flick which pioneered "R" rated mainstream horror. Top notch makeup work, a lovely Barbara Crampton and a desire for "realism" makes this one interesting, and a good choice for Halloween viewing.

Going Places (1974)*
I suppose it is supposed to be a biting social satire but the director plays it way too straight and all we end up with is one scene of misogynistic humiliation after another. I guess I just didn't get the joke.

Witness (1985)****
A double rarity: a very good '80's film and a very good Harrison Ford film. Terrific supporting turn by Jan Rubes as the Amish farmer.

The House Across the Bay (1940)*
Not quite sure what they were going for with this strange-goofy tale of a hood, a dame, a devious lawyer and an annoyingly pushy aircraft designer but whatever it was they didn't get it. Cardboard characters in a story that makes no sense.

Airport (1970)****
Impeccably crafted soap opera/disaster flick that's a mite too long but star power, production values and a few stellar performances make that irrelevant. Highly influential film, for better AND worse, extremely entertaining.

In Time (2011)***
Imaginative alternate reality actioner about haves versus have nots only instead of money it's life time as the separating factor. Cleverly filmed on an apparently extremely low budget, it's fun, intriguing and mostly able to suspend your disbelief until you notice that Amanda Seyfried is running all over the place with no difficulty in 6 inch heels.

Star Trek Into Darkness (2013)**
Not really anything like any of the previous incarnations of the Star Trek series and probably something that would horrify Gene Roddenberry, this is a nearly non-stop modern action pic complete with gratuitous babe-bikini shots, gaping plot holes, psychopathic attitudes toward murder except when the one being murdered is close to you and/or of your tribe and a penchant for not only justifying revenge but reveling in it. A couple of well done CGI set pieces.

The Ghost Writer (2010)***
Fine Hitchcock-ian thriller from Roman Polanski. A bit too long and a bit too dark, photographically speaking, but entertaining.

Impromptu (1991)***
George Sand woos Frederic Chopin amidst the backdrop of superstar artists of the early 19th century behaving badly on retreat at a fawning patron's villa. Smart and sassy stuff.

How To Be Gracious - Esquire:
"You simply must attend. Stand when someone enters the room, especially if you are lowly and he is the boss, and even if the reverse is true. Look them in the eye. Ask yourself: Does anybody need an introduction? If so, before you say one word about business, introduce them to others with pleasure in your voice. If you can't muster enthusiasm for the people you happen upon in life, then you cannot be gracious. Remember, true graciousness demands that you have time for others."

via kottke

'I Thought I Was Bulletproof': William Friedkin Looks Back on the '70s - NYTimes.com:
"'Certainly I regret that it wasn’t a critical or a commercial success. The zeitgeist was changing. It came out a week after "Star Wars,” and “Star Wars” really changed the way people think about, What is a movie? Right to this day, and beyond. All these films about the Avengers and the Transformers, video games and comic books, that’s what, for the most part, Hollywood cinema has become. That just automatically opened the floodgates to people wanting pure entertainment that could be seen by people of all ages, basically. Would my film have worked if there was no “Star Wars”? I don’t know. But without “Star Wars,” I think American film would be different today.'"

Sir Ben Kingsley: 'Without a mask, I haven't got a clue' - Telegraph:
“'I have a dear friend, Tony Palmer, who made a documentary on the life of Richard Burton,' he says in his precise, measured tones. 'It featured some interviews, in many of which he was a little the worse for wear. But the spine of the documentary was a mosaic of his performances. Put them together, pull back, and there’s Burton. I think, when I leave the planet and the equivalent of Tony tries to construct something similar, then fragments of my roles, those bits, would form a composite portrait of me. Without a mask I haven’t got a clue. Give a man a mask and he’ll tell you the truth.'”

North West Frontier (1959)**
A miscast, though quite lovely, Lauren Bacall sticks out like a sore thumb in this overlong train actioner set in British ruled India.

The Cable Guy (1996)**
Jim Carrey tries hard but the story and script go off the rails eventually. Poorly directed by Ben Stiller.

Undernews: America's copyright laws kills music:
"Among countless other undesirable things, this means that American record companies that aren’t interested in reissuing old records can stop anyone else from doing so, and can also stop libraries from making those same records readily accessible to scholars who want to use them for noncommercial purposes. Even worse, it means that American libraries cannot legally copy records made before 1972 to digital formats for the purpose of preservation—not unless those records have already deteriorated to the point where they may soon become unplayable."

Moneyball (2011)**
A lot of Brad Pitt, and I mean a LOT, in an overlong sports flick which makes darn sure you "get" its point. It's a lot of first world problems so it's hard to care too much.

Life of Pi (2012)***
When it's at sea, it is riveting and compelling, but all good sea survival tales have to have an ending...and a beginning. A difficult book to adapt to a film and Ang Lee opts for the literal approach which makes for a good film but not a great one.

Loud Family - Scott Miller:
"I wish it weren't true, but as much as it pains me to write these words, Scott passed away on April 15, 2013. He was a wonderful, loyal friend as well as a brilliant musician, and I will miss him for the rest of my life."

We all will, Sue.

Beasts of the Southern Wild (2012)*
Technically impressive with seamless old school special effects, but unless you enjoy watching a group of human beings who seem to do nothing but drink and pass out while living in a pile of garbage, skip it.

One of a Kind Is Now None of a Kind | Vanity Fair:
"Winters drew out of quieter resources, which made his comic gift a fragile thing, not something that could be rushed and goaded, and there were be long gaps in his public appearances, periods when he seemed to hibernate into himself. But unlike so many comics who suffered from drink and depression, Winters didn't acquire a bitter edge as a performer, he maintained his wonderment."

He could be wildly uneven, but when he was on, he could make you laugh so hard it was painful. Always an interesting performer.

The Hunter (2011)***
No nonsense, straightforward hunter/hunted tale well played, well written, showcasing a part of the world rarely seen in film, Tasmania.

Lover (2005)**
Korean "romance" flick has appealing leads, some nice twists but never becomes believable.

The Lady Eve (1941)***
One of the better Preston Sturges screwball comedies has some nifty repartee and a fistful of great supporting character actors. Manages to slip in some fairly racy material but you have to pay close attention.

The Damaging Links Between Food, Fuel and Finance: A Growing Threat to Food Security - naked capitalism:
"As the graph shows, co-movement is nearly complete. Co-movement suggests that supply and demand fundamentals in oil and broader commodities markets, which are indeed independent of one another, no longer determine price. UNCTAD attributes this to 'herding behavior' among financial investors still flush with speculative capital in search of quick returns.

"UNCTAD’s conclusions: 'Because of these distortions, commodity prices in financialized markets do not provide correct signals about the relative scarcity of commodities. This impairs the allocation of resources and has negative effects on the real economy. To restore the proper functioning of commodity markets, swift political action is required on a global scale.'”

Fat chance of that happening.

via @theharryshearer

Elvis Costello - Tramp the dirt down - YouTube
"When England was the whore of the world, Margaret was her madam. And the future looked as bright and as clear as the black tarmacadam."

Nobody Else But You (2011)**
Interesting but forgettable French mystery flick. Showcases a part of France we seldom see in films, the eastern Swiss border area in Winter.

The Tempest (2010)**
Helen Mirren is superb and compelling as Prospera, the usually male lead in Shakespeare's last play but the direction is confused or at best bland and could have used a more stylized approach as in Prospero's Books. Come to think of it this would have been better as a remake of that with the bonus that Mirren would speak all the lines.

Breathless (1960)**
Influential French flick which broke new ground in camera movement, editing and style. Really depends on whether you like Jean-Paul Belmondo or not.

Twin Peaks: Fire Walk with Me (1992)**
A prequel to the excellent groundbreaking TV series with a terrific lead performance by Sheryl Lee but none of the humor, wit or style typical of the films of David Lynch. Disappointing.

Lincoln (2012)***
Proof that a great screenplay and superlative performances can overcome directorial failings. A little too dark at times (referring to the lighting) but overall an intelligent and often inspiring look at a few weeks in the life of our 16th president. Spielberg just can't trust his script and actors and has to frame each "important" scene with the equivalent of neon signs and flashing arrows to make sure we get it. Annoying.

Obama signs 'Monsanto Protection Act' written by Monsanto-sponsored senator — RT USA:
"With the president’s signature, agriculture giants that deal with genetically modified organisms (GMOs) and genetically engineered (GE) seeds are given the go-ahead to continue to plant and sell man-made crops, even as questions remain largely unanswered about the health risks these types of products pose to consumers."

Not surprising he would sign it given this. So we don't let companies build airplanes and use them for commercial flights without ensuring their safety, but they can throw things into our food supply and bear no consequences for what might happen. Yeah that makes a lot of sense.

Argo (2012)*
Ben Affleck the director takes great pictures of Ben Affleck the actor. That's the most praise I can lavish on the man since this is a middling effort (at best) shamefully trumpeting and relying on it's truthful basis, which is minimal, and never mentioning that its main plot point...never happened. Guys, look, I'm ok with basing your film on a true story, but change the names and don't pretend you're doing a documentary when you're not.

The Forgotten (2004)**
Starts off well and Julianne Moore tries her best, but halfway through the story goes in a silly direction.

The Paper Chase (1973)***
Quality film, but seemed more meaningful and special on first viewing. Subsequent viewings reveal major weaknesses such as the female character not socking the wildly abusive law student in the jaw, and all the tension in Kingsfield's class is because...you might get called on? Still, John Houseman is great as Kingsfield and Lindsay Wagner is fetching as his daughter. Another good time capsule of the early '70's.

Targets (1968)***
Accomplished debut for film buff turned director Peter Bogdanovich. Interesting, well written script, quite good performances and some nifty camera work.

Anatomy of Hell (2004)**
Not exactly sure what the director was going for in this film of basically, two naked people getting to know each other for a few days but it's definitely not a rom-com! Lots of talk, lots of sex and genital-related activity, some closeups of areas that aren't usually shown in closeup, and an interesting use of a garden tool. A little too direct to be successful, but mercifully short. ("The woman" character gives new meaning to the term "sound sleeper"!)

Staggering Guardian Report Ties David Petraeus to Iraq Torture Centers - Philip Bump - The Atlantic Wire:
"There are other amazing details in the story: that U.S.-funded cameras were used to capture torture footage for an Iraqi TV show; that much of the information came to light thanks to the secret documents Bradley Manning sent to Wikileaks."

Legend (1985)***
One of Ridley Scott's more visually arresting films but this "myth"-mash fails to engage. The actors try their best and Mia Sara (all of 15!) makes a lovely heroine, but the production design and cinematography are the true stars and the script seems more like an afterthought.

Ffolkes (1979)**
"A" list cast stuck with a "B" list director, but still manage to make a watchable and enjoyable actioner about a quirky former soldier and his own team of mercenaries coming to the rescue of Queen and country.

The Hunger Games (2012)**
Technically well filmed and watchable despite its length but suffers from the first-in-a-trilogy story issues, and from the fact that the story just isn't all that well told. Unfortunately, its massive box office success has spawned far too many similarly dystopian sci-fi epics.

Lawfare › Kill-List Baseball Cards and the Targeting Paper Trail:
"Following the vetting and validation of targets, participants in the kill-list creation process also have an opportunity to vote on whether a name should be nominated for inclusion on a kill-list. In the Obama administration, Dan Klaidman, Jo Becker and Scott Shane have reported that this this debate and voting process was colloquially referred to as Terror Tuesdays. (Interestingly, during the Vietnam War targets were approved by the President at what become known as Tuesday luncheons, it seems Tuesdays are a bad day for America’s enemies)."

How can so many persons in positions of power go along with this? "Baseball cards"? "Terror Tuesdays"? And this line is especially rich: " On the one hand, many hands means many eyes, and impropriety may be discovered or reported by whistleblowers." I believe he says this un-ironically. Well I guess as long as there is some process and an extensive paper trail...

via @theharryshearer

Ruby Cairo (1993)**
Starts off rather well and for the first hour is actually kind of engrossing. Then the lovely Andie MacDowell gets to Egypt and the movie falls off a cliff.

The Evil Eye (1963)**
Mario Bava tries his best to make a Hitchcock film with a limited budget, limited actors, and a very limited script. Still, watchable for the many Bava-rian moments.

Side Effects (2013)***
Slick, old-fashioned noir with the usual Soderbergh touches: strong acting, clean, modern production design, superb cinematography. Could have used some Hitchcock-ian humor and perhaps one more twist.

Elles (2011)***
Reliably explicit and frank French film concerning an uptight, upper middle class female journalist haunted by a couple of interviewees' sex lives. Juliette Binoche is very good.

Rescue Dawn (2006)**
Reliably quirky Werner Herzog movie about the survival of a US fighter pilot shot down over Laos in 1965. Some fine performances but some Herzog touches, such as near constant background music and an ending that goes on too long, drag the film down.

Rhodes (1936)*
Ill-conceived and ill-executed biopic of the legendary imperialist which glosses over trivialities such as the Second Boer War and much of Rhodes' chicanery. Walter Huston is watchable in the lead.

Faulk still reeling from 'being cheated' : Stltoday:
"•Mike Martz’s playcalling was awful. The Patriots lined up in a nickel or dime defense with extra pass defenders on 75 percent of the Rams’ plays. Belichick correctly concluded that Martz wouldn’t have the patience or discipline to stick with running the football. Indeed, the Rams attempted 47 passes and only 22 runs."

Ok, once more for the all incompetent sports writers, the number of plays called and the type of plays called as a meaningful statistic bereft of context is MEANINGLESS. Just looking at the stats, the Rams offense was incredibly successful in terms of yardage despite the supposed superiority of the Patriots' defensive scheme. The 3 turnovers directly resulted in 17 Patriots points and was the difference in the game.

The Hospital (1971)****
Exceptional Paddy Chayefsky script, terrific George C. Scott performance, and innovative direction from Arthur Hiller which would be copied 20+ years later by ER and others. Another great movie from the 70's.

House by the River (1950)***
Nifty noir with interesting touches from director Fritz Lang. Jane Wyatt is very good as is the b/w photography.

'Zero Dark Thirty' Is Osama bin Laden's Last Victory Over America: Rolling Stone
"But forget about all of that. The real problem is what this movie says about us. When those Abu Ghraib pictures came out years ago, at least half of America was horrified. The national consensus (albeit by a frighteningly slim margin) was that this wasn't who we, as a people, wanted to be. But now, four years later, Zero Dark Thirty comes out, and it seems that we've become so blunted to the horror of what we did and/or are doing at Abu Ghraib and Guantanamo and Bagram and other places that we can accept it, provided we get a boffo movie out of it.

That's pathetic. Bin Laden was maybe the most humorless person who ever lived, but he has to be laughing from the afterlife. We make an incredible movie that celebrates his death – a movie so good it'll be seen everywhere in the world – and all it does is prove him right about us."

Boogie Nights (1997)****
Vibrant, compelling, hilarious and a tour de force for director PT Anderson. Clearly influenced by Scorsese, with a near perfect performance from Marky Mark. Period detail is spectacular as is the use of popular songs of the era.

Woman of Straw (1964)**
A complicated murder mystery with a fine cast, well written and shot, but needs a good 30 minutes cut. Gina Lollobrigida is quite good.

Nine 1/2 Weeks (1986)*
If a director is going to significantly change a novel in the adaptation to the screen, he really should change the title. Or perhaps Mr. Lyne didn't INTEND to play it as a rom-com after all. Only worth watching for Kim Basinger. Apotheosis of the "80's" movie.

2012 In Review: Movies

**** Moonrise Kingdom
*** Frankenweenie
*** Hitchcock
*** Men In Black 3
*** The Dark Knight Rises
*** To Rome With Love
** Dark Shadows
** Skyfall
** The Hobbit: An Unexpected Journey
** The Pirates! Band of Misfits
* The Three Stooges

2012 In Review: Music

**** AC Newman - Shut Down The Streets
**** Aimee Mann - Charmer
**** Cate Le Bon - Cyrk
**** Corner Laughers, The - Poppy Seeds
**** Hospitality - Hospitality
**** Kooks - Junk of the Heart
**** Raveonettes, The - Observator
**** Scout - All Those Relays
**** Shins, The - Port of Morrow
**** Shonen Knife - Pop Tune
**** dBs, The - Falling Off the Sky
 *** Beach House - Bloom
 *** Bob Mould - Silver Age
 *** Condors, The - 3 Item Combo
 *** Eux Autres - Sun Is Sunk (ep)
 *** Frankie Rose - Interstellar
 *** Garbage - Not Your Kind of People
 *** Imperial Teen - Feel the Sound
 *** Lightning Love - Blonde Album
 *** Metric - Synthetica
 *** Nada Surf - The Stars Are Indifferent to Astronomy
 *** Paul Weller - Sonik Kicks
 *** School of Seven Bells - Ghostory
 *** Sleigh Bells - Reign of Terror
 *** Soundtrack of Our Lives, The - Throw It To the Universe
 *** World Record, The - Freeway Special
 ** Anne Soldaat - Anne Soldaat
 ** Bruce Springsteen - Wrecking Ball
 ** Field Music - Plumb
 ** Goldfrapp - The Singles
 ** Invisible Cities - Meet the Lampreys
 ** Jeff Lynne - Long Wave
 ** Keene - Strangeland
 ** Peter Buck - Peter Buck
 ** Stag - Chameleons
 ** Susanna Hoffs - Someday
 ** Woods - Bend Beyond
 * Ringo Starr - Ringo

The Hobbit: An Unexpected Journey (2012)**
Some spectacular CGI, particularly Gollum and the Great Goblin, Ian McKellan is in fine form and Martin Freeman makes a proper Bilbo Baggins, but it is far too long, too repetitive and too much of the same mold as The Lord of the Rings you get the feeling you've seen it all before.

Hitchcock (2012)***
Lackluster biopic enlivened by a superb Anthony Hopkins, a strong Helen Mirren (although miscast) and a stunning Scarlett Johansson.

Haywire (2011)****
It's a shame Steven Soderbergh is planning on retiring after his next film or two. No other director I can think of is so good at using unknown or non-actors to such great effect. A tight, action packed, tense, paranoid thriller, much more effective than any Bond picture, or other mega-million franchise. Highly enjoyable.

SFGate.com: Roman on read option: ‘The result was not the intent of the play call’:
"Still, does he regret calling the play?

“'I’ll just say the result was not the intent of the play call,' Roman said. 'I always look back and say, ‘Did it work. Didn’t it work? Why? Why not?’ And then move on from there.'

"The play, of course, has inspired more scrutiny and criticism than any other call during Roman’s tenure. He agreed it was a hazard of his job."

Hmm...seems like whenever there was an unusual play called when Mike Martz was OC, it was due to his massive ego only. No mention of the word "ego" in this article. Perhaps Martz is one of the few OC's or head coaches in the NFL to possess such a thing?

Holiday Affair (1949)***
Enjoyable, if predictable, rom-com that happens to take place during the Christmas holidays. Snappy dialogue and fine work from the leads (even the kid) and a nifty final sequence aboard a train.

Bill Murray, Star of ‘Hyde Park on Hudson’ - NYTimes.com:
"Q. There seems to be so much serendipity in your life. Are you actively cultivating these moments or just hoping that they come to you?

"A. Well, you have to hope that they happen to you. That’s Pandora’s box, right? She opens up the box, and all the nightmares fly out. And slams the lid shut, like, 'Oops,' and opens it one more time, and hope pops out of the box. That’s the only thing we really, surely have, is hope. You hope that you can be alive, that things will happen to you that you’ll actually witness, that you’ll participate in. Rather than life just rolling over you, and you wake up and it’s Thursday, and what happened to Monday? Whatever the best part of my life has been, has been as a result of that remembering."

via kottke.org

Fight Club (1999)****
Exceptional rant against corporatism and much of modernity, lead by excellent lead performances, design and direction.

Animal House (1978)***
One of the first "R" comedies to hit it big. Still enjoyable, but unfortunately it's success meant that we end up with dreck like this.

Three lost trying to save family dog - SFGate
"When a state park ranger arrived on the scene, he had to park a half mile away and travel on foot because of the steep terrain around the beach, Jones said. The ranger saw the mother and pulled her out of the water, and he and a bystander began cardiopulmonary resuscitation. The ranger then pulled out the father. Both parents were pronounced dead at the scene. The dog survived and the teen remains missing."

The Trial (1962)***
Orson Welles said in an interview that he felt this film was the best he had ever made. While I wouldn't go that far, it's certainly one of his best and I think why he felt that way was because it looks like he got everything he wanted to do with the film done. It's an impressive intellectual achievement but ultimately fails to engage, which I feel is a consequence of the kind of tale it is. Still, there are many impressive sequences and the acting is top notch, especially Anthony Perkins in the lead. Always interesting.

Bernie (2011)***
Director Richard Linklater almost achieves an Alexander Payne-esque tone to this film, but the casting of Jack Black as the lead does him in. Black is fine, but he is unable to overcome his persona which has us waiting for the inevitable winking at the camera and that creates a bit more distance than the film needs.

FBI's abuse of the surveillance state is the real scandal needing investigation | Glenn Greenwald | guardian.co.uk:
"So all based on a handful of rather unremarkable emails sent to a woman fortunate enough to have a friend at the FBI, the FBI traced all of Broadwell's physical locations, learned of all the accounts she uses, ended up reading all of her emails, investigated the identity of her anonymous lover (who turned out to be Petraeus), and then possibly read his emails as well. They dug around in all of this without any evidence of any real crime - at most, they had a case of "cyber-harassment" more benign than what regularly appears in my email inbox and that of countless of other people - and, in large part, without the need for any warrant from a court."

A Cat in Paris (2010)**
So-so animated flick about a cat who helps a cat burglar save a young girl who gets into some trouble.

Skyfall (2012)**
Spectacular opening sequence can't rescue the latest overlong Bond flick that tries way too hard to explain everything and thinks the use of extreme facial closeups is the way to do that. Watchable to the end thanks mainly to Naomie Harris and some nifty pyrotechnics.

Grey Owl (1999)**
Interesting, standard issue biopic of a real Canadian fur trapper turned conservationist in the 1930's, hampered by the casting of a non-actor as the female lead.

Black Sabbath (1963)**
Rich in creepy atmosphere and vibrant, with a terrific opening tale of terror. Things go downhill from there to a hard-to-believe second act and end up with a too long third story. Karloff is solid as usual. Impressive production on a limited budget.

It Happened Tomorrow (1944)**
Desperately needs a stronger cast as the script is very weak and the direction stays too laid back, too droll when more screwball is needed.

Rope of Sand (1949)**
Burt Lancaster, as well as Peter Lorre and Claude Rains are wasted in this strange flick that wants to be Casablanca but is far too crude and rude and just plain non-sensical at times. Weak female lead doesn't help.

The Rocky Horror Picture Show (1975)****
Highly entertaining send-up/homage of '50's horror/sci-fi flicks mashed with '70's punk rock put together with care and wit. Tim Curry is tremendous in his film debut and the rest of the cast is top notch as well. Great tunes and well directed.

Madhouse (1974)**
Fun to see Vincent Price and Peter Cushing together in a film, even a poorly directed and even more poorly written one as this.