Official Film Snobs Club, We have better taste than you. Options

[NoSex]

I watched Palindromes a couple of months ago. I'm not sure how I feel about Todd Solondz's movies.

I really didn't care for Happiness. I thought the whole tongue-and-cheek thing was really overwrought and overplayed. However, I did enjoy Palindromes - at least, I enjoyed it a lot more than I had expected I would.

Like, how can you argue with this?

Also I still need to get back to you on my ventures into horror.

Yeah, definitely. Have you watched any of that stuff yet?

THAT IS NOT FAIR.
He is one of my favorite filmmakers of all time. Julien Donkey-Boy, Kids, and Gummo appealed to me, a lot. I have yet to watch Mister Lonely.

The world just isn't fair.

But, yeah, it was a pretty great experience. I asked him about Fight Harm and he told me that David Blaine was a "shitty cameraman." Insofar as I could tell, he's a good guy. And, my Gummo DVD, because of it all, became my favorite in my collection. That f**king cock - fantastic.

But, yeah. Korine is fantastic. Mister Lonely was certainly a different experience (in comparison to Gummo and Julien Donkey-Boy) - it seemed to follow more of a Lynchian logic in its narrative. Nonetheless, it was a pretty great flick with some absolutely amazing scenes (i.e. anytime the Abe Lincoln impersonator was on-screen). Also, seeing Werner Herzog again was fantastic.

P.S. I really don't like Kids - probably because of Larry Clark. Although, altogether, I did like Ken Park.

[NoSex]

Some up-dates:

Since I'm really going to start pushing this film-log ("movie-a-day") idea, I suppose I'll share. The idea is not exactly to watch a new film everyday, but to at least try to make most of these movies I have not yet seen (which I was rather successful in). I missed a few films, but I intend to make that up for a larger "movie-a-day-for-three-hundred-sixty-five-days" thing. I have not yet decided on whether or not commentary should compliment my entries, although, I'm supposing that without them... this would be sort of bland. In either case, I invite fellow members to challenge themselves in the same way - watch a movie a day, catalog your progress.

Full June Film-log (*=2nd, 3rd, etc. viewing):
Time of the Wolf (Michael Haneke, 2003)
Palindromes (Todd Solondz, 2004)
The Adventures of Buckaroo Banzai Across the 8th Dimension (W.D. Richter, 1984)
The Machine Girl (Noboru Iguchi, 2008)
Chocolate (Prachya Pinkaew, 2008)
Serenity (Joss Whedon, 2005)*
Right at Your Front Door (Chris Gorak, 2006)
Mama's Boy (Tim Hamilton, 2007)
Zapped (Robert J. Rosenthal, 1982)
Back to the Future (Robert Zemeckis, 1985)*
Last House on Dead End Street (Roger Michael Watkins, 1977)
Jack Ketchum's The Girl Next Door (Gregory Wilson, 2007)
In the Realms of the Unreal (Jessica Yu, 2004)
The Strangers (Bryan Bertino, 2008)
The Happening (M. Night Shyamalan, 2008)
The Incredible Hulk (Louis Leterrier, 2008)
An American Crime (Tommy O'Haver, 2007)
The Tracey Fragments (Bruce McDonald, 2007)
Hulk (Ang Lee, 2003)
Swingers (Doug Liman, 1996)
Pee-Wee's Big Adventure (Tim Burton, 1985)*
Shivers (David Cronenberg, 1975)
7 Up! (Paul Almond, 1964)
14 Up (Michael Apted, 1970)
Aguirre, the Wrath of God (Werner Herzog, 1972)
21 Up (Michael Apted, 1977)
Sweet Movie (Dusan Makavejev, 1974)
Symbiopsychotaxiplasm: Take 2 1/2 (William Greaves, 2005)
Lifeboat (Alfred Hitchcock, 1944)

This months favorites (sans 2nd, 3rd, etc. viewings):
21 Up (Michael Apted, 1977)
Sweet Movie (Dusan Makavejev, 1974)
Lifeboat (Alfred Hitchcock, 1944)
Aguirre, the Wrath of God (Werner Herzog, 1972)
Chocolate (Prachya Pinkaew, 2008)

This months least-favorites (sans, 2nd, 3rd, etc. viewings):
The Strangers (Bryan Bertino, 2008)
Symbiopsychotaxiplasm: Take 2 1/2 (William Greaves, 2005)
The Tracey Fragments (Bruce McDonald, 2007)
Jack Ketchum's The Girl Next Door (Gregory Wilson, 2007)
Mama's Boy (Tim Hamilton, 2007)

I will probably (in the least) expand on each of my fives picks (favorite, and least favorite) for this month. Any thoughts?

P.S. New top 20:
1. The Blair Witch Project (Daniel Myrick & Eduardo Sanchez, 1999)
2. Twin Peaks: Fire Walk With Me (David Lynch, 1992)
3. Blue Velvet (David Lynch, 1986)
4. Videodrome (David Cronenberg, 1983)
5. Gummo (Harmony Korine, 1997)
6. The Good, The Bad, and The Ugly (Sergio Leone, 1966)
7. La Dolce Vita (Federico Fellini, 1960)
8. Crash (David Cronenberg, 1996)
9. The Hour of the Wolf (Ingmar Bergman, 1968)
10. Night of the Living Dead (George A. Romero, 1968)
11. The Squid and the Whale (Noah Baumbach, 2005)
12. Lawrence of Arabia (David Lean, 1962)
13. Week End (Jean-Luc Godard, 1967)
14. The Forbidden Zone (Richard Elfman, 1980)
15. Straw Dogs (Sam Peckinpah, 1971)
16. Pee-Wee's Big Adventure (Tim Burton, 1985)
17. A Nightmare on Elm Street (Wes Craven, 1984)
18. Symbiopsychotaxiplasm: Take One (William Greaves, 1968)
19. Beyond The Valley of the Dolls (Russ Meyer, 1970)
20. The Thin Blue Line (Errol Morris, 1988)

[fire]

+ Ghostbusters
+ The Darjeeling Limited

[Joanne]

I heard Perfume was a horrible film. Totally laughable.

[fire]

As was the book.

[NoSex]

The current progress of my July viewings:

July Film-log (*=2nd, 3rd, etc. viewing):
The Naked Prey (Cornel Wilde, 1966)
Stand By Me (Rob Reiner, 1986)*
Anatomy of a Murder (Otto Preminger, 1959)
Psycho (Alfred Hitchcock, 1960)*
Incident at Loch Ness (Zak Penn, 2004)
The Apartment (Billy Wilder, 1960)
Caché (Michael Haneke, 2005)
Possession (Andrzej Zulawski, 1981)
Singing in the Rain (Stanley Donen & Gene Kelly, 1952)
Westword (Michael Crichton, 1973)*
The Thin Blue Line (Errol Morris, 1988)*


Possession (1981) is quite possibly the best movie I have ever seen in my entire life. The sort of inner and animalistic fervor that the actors portray their emotions with is exceptionally unique. I could not say that I have ever seen anything quite like it. There is a surreal quality to the film that is indeed haunting, as if we're watching humanity unrestrained from social hierarchy and order. The actors merely live and play from their souls, the pain of divorce, the jealousy, and the horror of love lost... all materializes in painful shrieks and moans. It's most impressive.

The moment after I saw it I began searching for a way to get my paws on a copy - anything. To my dismay I found that their hadn't been a proper release in America until the late 1990's, and all of those releases had been "out of print" since 2003. I found a few used copies but they all ran from sixty to a hundred dollars. Luckily, I caught a fool on ebay selling a copy of the Anchor Bay re-release for three dollars and ninety-nine cents. I purchased it immediately. It just recently arrived in the mail - unopened. I am exceedingly excited to experience this marvel of movie making once again.

[Djlunatix]

Saw Wall-E...absolute Perfection..

anyone want to argue.

please lets.

cheers!

[ThunderEvermore]

Wall-E was fantastic. Any movie that makes you care about two robots is just an illustration of how to make a good movie.

Thanks to Encore I've come to realize that Click is one of my favorite movies ever simply because I cried even harder the third time around.

[NoSex]

I started a blog that is relevant:


I also started a subreddit that happens to also be relevant:
SNOBS.

[mipadi]

I also started a subreddit that happens to also be relevant:
SNOBS.

Subscribed. Even though I doubt my own "expertise" in this area can really live up to the standard, it will probably help renew my long-dormant-but-once-fiery interest in film and writing.

I also added you as a friend, so now I can watch everything you do online (or, at least, on Reddit).

[*paperplane*]

A list of what I've watched from Netflix since I posted my top 20

Primal Fear
Rushmore
The Life Aquatic
Adaptation
High Fidelity
Trainspotting
Rocket Science
Broken English
The Diving Bell and the Butterfly
Atonement
Goodbye, Lenin!
Starter for Ten
Driving Lessons
Thumbsucker
Me and You and Everyone We Know
Being John Malkovich
Casablanca
My Blueberry Nights
Memento

Watched instantly

This is England
Conversations With Other Women
Puccini for Beginners
Palindromes
Blue State
Sherrybaby
The Rage in Placid lake
A Relationship in Four Days
The Orphanage
A Very Long Engagement
4 Months, 3 Weeks, and 2 Days
The Sound of People
The Treatment
A Clockwork Orange
Machuca

Some of that I'd seen already, but wanted to watch again for one reason or another.

I spend too much time watching television shows, because it better suits my attention span.

[NoSex]

Subscribed. Even though I doubt my own "expertise" in this area can really live up to the standard, it will probably help renew my long-dormant-but-once-fiery interest in film and writing.

I also added you as a friend, so now I can watch everything you do online (or, at least, on Reddit).

I'm glad you subscribed. You should send me a message sometime, so we both can be friends.

I spend too much time watching television shows, because it better suits my attention span.

Television has been the greatest deterrent of my "movie a day" goal. I watch far too much television, or so I've found. I'm like, four movies behind right now. So, essentially, I'll have to watch like... four movies in a day tomorrow (or something like that).

[ThunderEvermore]

My distraction lately has mainly been books. I just can't put those Star Wars novels down.

[NoSex]

My distraction lately has mainly been books.

My new distraction will be college (especially when I f**king get my textbooks, ack)! Augh.

Alright, cause I haven't been keeping this up to date:

July Screening Log (*=re-watch):
Naked Prey, The (Cornel Wilde, 1966)
Stand By Me (Rob Reiner, 1986)*
Anatomy of a Murder (Otto Preminger, 1959)
Psycho (Alfred Hitchcock, 1960)*
Incident at Loch Ness (Zak Penn, 2004)
Apartment, The (Billy Wilder, 1960)
Caché (Michael Haneke, 2005)
Possession (Andrzej Zulawski, 1981)
Singing in the Rain (Stanley Donen & Gene Kelly, 1952)
Westword (Michael Crichton, 1973)*
Thin Blue Line, The (Errol Morris, 1988)*
Deliver us From Evil (Amy Berg, 2006)
A Woman is a Woman (Jean-Luc Godard, 1961)
Manhattan (Woody Allen, 1979)
Watership Down (Martin Rosen, 1978)
Jules and Jim (François Truffaut, 1962)
Total Recall (Paul Verhoeven, 1990)*
Heat (Michael Mann, 1995)
Vanishing Point (Richard C. Sarafian, 1971)
Blacula (William Crain, 1972)
Deliverance (John Boorman, 1972)
X-Files: I Want to Believe (Chris Carter, 2008)
Shock (Mario Bava, 1977)
Dark Knight, The (Christopher Nolan, 2008)
Rocky Horror Picture Show, The (Jim Sharman, 1975)*
Birds, The (Alfred Hitchcock, 1963)*
Phase IV (Saul Bass, 1974)
Paradise Lost: The Child Murders at Robin Hood Woods (Joe Berlinger & Bruce Sinofsky, 1996)

Short Films:
A study in choreography for camera (Maya Deren, 1945)
L'Arrivée (Peter Tscherkassky, 1997/98)
Get Ready (Peter Tscherkassky, 1999)
Manufracture (Peter Tscherkassky, 1985)
Outer Space (Peter Tscherkassky, 1999)
All the Boys Are Called Patrick (Jean-Luc Godard, 1959)
Dr. Horrible's Sing-Along Blog (Joss Whedon, 2008)

August Screening Log:
Don't Look Now (Nicolas Roeg, 1973)
Broken Flowers (Jim Jarmusch, 2005)
Zombi 2 (Lucio Fulci, 1979)
Brick (Rian Johnson, 2005)*
Sombre (Philippe Grandrieux, 1998)
28 Up (Michael Apted, 1985)
Strange Circus (Sion Sono, 2005)
Satan's Playground (Dante Tomaselli, 2005)
Kicking and Screaming (Noah Baumbach, 1995)
Rope (Alfred Hitchcock, 1948)
The Man Who Knew Too Much (Alfred Hitchcock, 1956)
Titicut Follies (Frederick Wiseman, 1967)
A Face in the Crowd (Elia Kazan, 1957)
Possession (Andrzej Zulawski, 1981)*
Salesman (Albert Maysles, David Maysles, and Charlotte Zwerin, 1968)
Night and Fog (Alain Resnais, 1955)
Capturing the Friedmans (Andrew Jarecki, 2003)
The Cars That Ate Paris (Peter Weir, 1974)
Z Channel: A Magnificent Obsession (Alexandra Cassavetes, 2004)
Vicky Cristina Barcelona (Woody Allen, 2008)
The Iron Rose (Jean Rollin, 1973)
The Manhattan Project (Marshall Brickman, 1986)
The Cable Guy (Ben Stiller, 1996)*
The Third Man (Carol Reed, 1949)
Magnifique, Le (Philippe de Broca, 1973)
Vernon, Florida (Errol Morris, 1982)

SHORT FILMS:
Multiple Sidosis (Sid Laverents, 1970)
A Wild Blue Yonder (???, ???)
Les Pays loin (Jean Rollin, 1965)

Lot's of movies, yes, yes. I'll update with some further information soon. Anyone watch anything interesting? Who saw Vicky Cristina Barcelona?

[Joanne]

Oh Nate, I think you should watch this short called "Madame Tutli-Putli". It's a Canadian stop motion animated short film that won a bajillion awards:
Part 1 , Part 2
(it's probably not as awesome here since it's YouTube and low-quality...)

Tell me what you think of it!

[Simba]

Gah dang you watch a lot of films, ha ha.

[ThunderEvermore]

So I'm taking a class called Politics, Film, and Electronic Media, and we watch a movie every week. This week was Mr. Smith Goes to Washington (1939) and wow what a movie. No wonder it was #26 on the AFI's top 100.

[PuppyLove72]

1. Casablanca (1942)
2. A Hard Day's Night (1964)
3. Jaws (1975)
4. Rear Window (1954)
5. Laura (1944)
6. The Lady Eve (1941)
7. Metropolitan (1990)
8. Head (1968)
9. Double Indemnity (1944)
10. West Side Story (1961)
11. North by Northwest (1959)
12. To Catch a Thief (1955)
13. Help! (1965)
14. A Night at the Opera (1935)
15. Wings of Desire (1987)
16. Hannah and Her Sisters (1986)
17. Wizard of Oz (1939)
18. Singin' in the Rain (1952)
19. Bachelor and the Bobby-Soxer (1947)
20. The Long, Hot Summer (1958)

[NoSex]

Gah dang you watch a lot of films, ha ha.

Word.

So I'm taking a class called Politics, Film, and Electronic Media, and we watch a movie every week. This week was Mr. Smith Goes to Washington (1939) and wow what a movie. No wonder it was #26 on the AFI's top 100.

Yeah; it's actually quite a good tale. Jimmy is amazing, of course.

1. Casablanca (1942)

I appreciate your affinity for classic cinema (even if some of it turns out a bit AFI-y). I take it you have a romance with Turner Classic (TCM)?

Here is my issue: you gotta diversify, dawg. I don't have any doubt that you truly love cinema and enjoy film, but... I just have to ask you some questions:

Name your top five zombie movies?
ALSO: Talk about your love for the classics, please.

[PuppyLove72]

Word.
Yeah; it's actually quite a good tale. Jimmy is amazing, of course.
I appreciate your affinity for classic cinema (even if some of it turns out a bit AFI-y). I take it you have a romance with Turner Classic (TCM)?

Here is my issue: you gotta diversify, dawg. I don't have any doubt that you truly love cinema and enjoy film, but... I just have to ask you some questions:

Name your top five zombies movies?
ALSO: Talk about your love for the classics, please.

I don't have cable, nor do I have a love for zombies. I don't see how loving zombie movies can make someone a great lover of films. I'd prefer to have a definite taste then just like everything. Where's the class and taste in that? So, zombies happen to be out of my sphere. It doesn't mean I don't have a variety. What's the similarity between 'Clueless' and 'Casablanca'? Or 'Laura' and 'Jaws'? 'State Fair' and 'Raiders of the Lost' weren't exactly the same genre last time I checked. Besides, I've never listed my top 20 movies, so I not all of those movies are my favorites. I like other movies, too. Those were just the ones that came to mind.

And as for my love for the classics, there are several elements to love about them. Hit films were usually well-written and had good actors. Leading males were masculine, which was attractive, the women weren't feminists but they were strong at times. Just because a film is a classic doesn't mean that they're like all the others. Classic isn't a genre. While many films of the time have similar skeletons, their flesh is different. 'Casablanca', in short, is a romantic warm film. Does that make it like all other romantic war movies? No. There are two heroic figures; Lazlo, the resistance fighter, and Ilsa's husband. Ilsa is the woman Rick loves, who disappeared from his life when she discovered that Lazlo was still alive when thought dead. The other hero is Rick, who doesn't have the heroic qualities until the end. In the beginning, he is cynical and loves no one. He has a heart, we see that, and it used to be much softer. When Ilsa comes back into his life, he has a chance to have her for himself again and send Lazlo to America. But does he? No. He knows that Ilsa belongs with Lazlo and sends both of them to America, to be happy, and Rick is left alone to face the responsibilities of being an American patriot. It is a definitive transition. Do other classics cover this? Not at all. 'It's a Wonderful Life' tells us that "no man is a failure who has friends". They're two different films. Just as 'The Lady Eve' is different although they were all within 5 or 6 years. People could easily cross off 'The Lady Eve' as being goofy and ridiculous (which it is, but it's a very witty comedy), and 'It's a Wonderful Life' as being corny (Capracorn!).

Look at my top 3. In short; Casablanca, a romantic war film; A Hard Day's Night, a rock musical; Jaws, an adventurous thriller. All more than ten years apart. Continue down the list,

Rear Window, a thriller that keeps you locked in the same room with the main character. You can't move, you can only see.
Laura, a film noir about desire and obsession and what happens when it goes too far.
The Lady Eve, a comedy that'd never happen but that's half of it's charm.
Metropolitan, a movie about Urban Haute Bourgeoisie and Fourierism.
Head, a psychedelic movie about Monkees, drugs, and war.
Double Indemnity, a movie with no hero about murder and love.
West Side Story, a musical where the Romeo can't act but everyone can dance, sing, the music is great, and it's filmed so red that you'd think it was on fire.
North by Northwest, a movie about a man of mistaken identity who decides to solve the crime he's committed for while on the run from EVERYONE.
To Catch a Thief, a character movie. Forget the plot, just watch Cary Grant.
Help!, a Bond-spoof with filthy Eastern ways and a rock group. And a laser.
A Night at the Opera, a movie that only highlights three of the best comedians ever. And they're brothers.
Wings of Desire, a movie of hope.
Hannah and Her Sisters, a comedy about affairs, true love, and hypochondriacs. And it's a happy ending in every shape and form. Woody Allen artistically presents it in a way that makes it twice as enjoyable as it could be.
Wizard of Oz, a magical film that takes so far away from reality but somehow takes us back as it tells us that there's 'no place like home'.
Singin' in the Rain, one of those light-hearted musical comedies that makes you so happy because its very title is ironic to our natural concept of thinking. Rain means sadness, but Gene Kelly sings in it, after saying that 'from where I'm standing, it's shining all over'. Corny, yes. Bad, no.
Bachelor and the Bobby-Soxer, is a ridiculous comedy once more, but so delightful. Shirley Temple tries to act 24, Cary Grant tries to act 16, and Myrna Loy tries to act sensible.
The Long, Hot Summer is captivating because Paul Newman and Orson Welles grace the screen.

So, yes, the skeletons are the same, but what of the flesh? What of the accents? They make these films greatly different. You can't judge a film by its genre, as you can't judge a person's taste by their favorite genres. Zombie and horror films I don't touch on because I prefer films of more...enlightening qualities. I watch many films, but only like some of them. Is it wrong to have discrimination? Am I shallow because I dislike zombies? If that's all, I liked the music video "Thriller", and, shucks, wasn't it good...

[Joanne]

I don't see how loving zombie movies can make someone a great lover of films.

Yeah, I've been meaning to ask that too...

[NoSex]

I don't see how loving zombie movies can make someone a great lover of films.

I just asked what your favorite zombie movies were; I wasn't trying to imply anything. However, now that I've found that you seem to think that zombie movies are like... too good for you, or something... I'm a bit turned off. What's your problem with zombie movies?

I'd prefer to have a definite taste then just like everything. Where's the class and taste in that?

I have no idea what the f**k you're talking about. Do you meant to suggest that liking zombie movies as well as classic cinema is like... some sort of free-for-all, "I have no standards" sort of move? I really don't understand this.

Classic isn't a genre. While many films of the time have similar skeletons, their flesh is different.

I know "classic" isn't a "genre;" all I was trying to do was point out that you seem to prefer older films - films from the "golden era."

So, yes, the skeletons are the same, but what of the flesh? What of the accents? They make these films greatly different. You can't judge a film by its genre, as you can't judge a person's taste by their favorite genres. Zombie and horror films I don't touch on because I prefer films of more...enlightening qualities. I watch many films, but only like some of them. Is it wrong to have discrimination? Am I shallow because I dislike zombies?

First you say that someone cannot judge a film merely by the category that it is placed in, but then you turn around and commit just that: you have a clear prejudice against "zombie and horror films." You seem to suggest that merely because of their category, all of these films lack "enlightening qualities." This is strange to me.

First and foremost, I just want to say that I love old cinema. I also love zombie movies. I'm a nobrow activist; what's good is good. For some odd reason, you seem to be charging me with a sort of hasty-generalization (as if all "classic cinema" is the same, or bad, or whatever). Yet, I haven't even come close to committing such a fallacy. On the contrary, it is you who have generalized all horror and or zombie films as being somehow beneath you. I challenge this point:

Golden era cinema, studio-cinema, is rarely subversive. The films of yesteryear, although marvelous in their own right, are far from "enlightening." They are often easily digestible, optimistic, and predictable. Horror, and specifically zombie films, however, is subversive. Take the zombie film for instance. It taps into some of the most fundamental human fears: they embody and make real our ever-present fear of death, they are the lumbering masses, so powerful in numbers, but so rotten, slow, and moronic, they represent the pain of individuality in a world of conformity and mass consumption - you really can't find "enlightening qualities" in this?

[PuppyLove72]

I just asked what your favorite zombie movies were; I wasn't trying to imply anything. However, now that I've found that you seem to think that zombie movies are like... too good for you, or something... I'm a bit turned off. What's your problem with zombie movies?
I have no idea what the f**k you're talking about. Do you meant to suggest that liking zombie movies as well as classic cinema is like... some sort of free-for-all, "I have no standards" sort of move? I really don't understand this.
I know "classic" isn't a "genre;" all I was trying to do was point out that you seem to prefer older films - films from the "golden era."
First you say that someone cannot judge a film merely by the category that it is placed in, but then you turn around and commit just that: you have a clear prejudice against "zombie and horror films." You seem to suggest that merely because of their category, all of these films lack "enlightening qualities." This is strange to me.

First and foremost, I just want to say that I love old cinema. I also love zombie movies. I'm a nobrow activist; what's good is good. For some odd reason, you seem to be charging me with a sort of hasty-generalization (as if all "classic cinema" is the same, or bad, or whatever). Yet, I haven't even come close to committing such a fallacy. On the contrary, it is you who have generalized all horror and or zombie films as being somehow beneath you. I challenge this point:

Golden era cinema, studio-cinema, is rarely subversive. The films of yesteryear, although marvelous in their own right, are far from "enlightening." They are often easily digestible, optimistic, and predictable. Horror, and specifically zombie films, however, is subversive. Take the zombie film for instance. It taps into some of the most fundamental human fears: they embody and make real our ever-present fear of death, they are the lumbering masses, so powerful in numbers, but so rotten, slow, and moronic, they represent the pain of individuality in a world of conformity and mass consumption - you really can't find "enlightening qualities" in this?

I stick by my guns, and I have no wish to acquaint myself with zombies, live and let live. I submitted my top 20, and you tell me you have problems with my list, as if you are the guru of films. Tell me, what makes you the all-knowing? Who are you to judge my taste? And why should I listen to you? If this is the type of "club" this is, then I completely take back my submission and will not post here again. I thought this was a place for people who loved movies, which, believe it or not, no matter how one-tracked I may seem, I do. I love films. But, I have nothing more to say. Good-bye.

[NoSex]

I stick by my Good-bye.

Oh, don't get all self-righteous on me - I'm not the one that stuck my nose in the air at the suggestion of rotting dead-alive monsters. Further, I didn't really have a serious problem with your list, in fact, I thought it was one of the better lists we have seen. I was merely asking you questions in order to further understand your perspective and taste for cinema... but, I got a bit more understanding than I would like to: you're the worst sort of snob, those nasty "high brow" bastards. Get the Bogey out of your ass and have some fun!

Oh, and yes... I am the guru god of all film and you should listen to everything I say, ever...

Good riddance!

[Djlunatix]

long time no post, but I've watched a fairly good movie, that I think deserves some free advertisement, its called The Station Agent, and was so real and beautifully made, that I almost cried. The movie focuses around a Dwarf's struggle with society and the alienation from the rest of the world, its a great movie and I recommend it to anyone who has a heart.