(No, not goatse. Whattaya think this is — Norwegianity?)

The relationship between me and good movies is always one of feast or famine. Either it’s limitless desolation, population: Adam Sandler, or it’s an orgy at Pedro Almodovar’s house. Never anything in between.

Case in point: here I am, coming off of a dry spell that seemed decades long, when I didn’t see anything worthy of more than a half-hearted ‘Yeah, I guess it was okay’, then all of a sudden within the span of 48 hours seeing not one but TWO true actual mindblowing really no kidding spectacular instant classics of film-making genius.

(Paging Mal Valour: I’m running low on laudatory blurbwords. Get me two dozen superlatives, STAT!)

(pictured: Clive Owen and Claire-Hope Ashitey are caught in the crossfire of a Fallujah-like battle between British Homeland Security forces, anti-government commandos and rebellious detainees in an immigrant detention camp in the year 2027.)

Children of Men, directed by Alfonso Cuarón

How can a movie that’s so bleak be so exhilarating? It must be due to a combination of virtuoso cinematography, meticulous, absolutely convincing details of set design and set decoration, at least two amazing sequences shot in single extended takes, the pacing of an action-thriller yet with depth of characterization that lets the players’ humanity shine through…

I dunno, but whatever it was this film had me alternately gasping in shock, gnawing my knuckles, and choked up getting all verklempt. Beautiful performances by everyone, but perhaps especially Michael Caine and Clive Owen.

Do not miss this one. If nothing else, you will never hear the silly line “Pull my finger” the same way ever again.

[ADDED]:  I loved the soundtrack instantly, and (through the resourceful graces of my offspring) am listening to it as I write this.  Thanks, guys.
In keeping with the movie’s visual theme of the familiar mutated in unexpected ways, the soundtrack  features Deep Purple, King Crimson, and Donovan alongside Roots Manuva, Spaceape and the Libertines.  My most favoritest cuts are a trance-inducing cover of the Beatles’  “Tomorrow Never Knows” with vocal by Junior Parker; a rehearsal track version of “Bring On the Lucie (Freeda Peeple)”  from  John Lennon’s 1973 album “Mindgames”; and my absolute favorite:  Jarvis Cocker singing  “C*nts Are Still Running the World.”  (You know it MUST be special if I can recommend a song with that word in the lyrics)[ /ADDED] 

~~~~~

(pictured: The Pale Man, one of many creatures encountered by 10 year old heroine Ofelia in “Pan’s Labyrinth”. Disturbing, but not the most monstrous entity by far of all that she will meet.)

Pan’s Labyrinth, directed by Guillermo del Toro

ooops; gotta run. Work awaits. I’ll update this later in the morning as my workday permits.

[ADDED]:  It wasn’t reading about the fantasy, CGI elements that made me eager to see this movie.  I heard early on, too, about how violent it was, and how filled with disturbing imagery. Anyone who knows me knows I am the last person on earth to ever seek out horror films, even the sans - gore, psychological terror variety.  “Hostel”, “Texas Chainsaw Massacre”, any of the “Saw” oeuvre; in short: about 80% of the inventory at Blockbuster, none of it holds even the tiniest iota of appeal.  Don’t even think about trying to get me to watch one of these. Tild don’t play dat.

No, for me the hook in Pan’s Labyrinth is the setting:  rural Spain, 1944.  My hobby and my pleasure has been to study Franco-era Spain for the past 15 years; probably longer.   Especially the post-civil war, WWII and post-WWII years:  1939 through about 1951.   There is so little material available to us in popular culture about that particular time and place,  for a starting reference point we almost need to depend on a single widely - known literary source and its film adaptation:  Hemingway’s “For Whom the Bell Tolls“.  

That 1940 novel was set during the civil war, in 1937.  The main characters are Loyalist (Republican) guerilla fighters inthe mountains of northwestern Spain, ambushing  and attacking the Franco-led Nationalist insurgents. The source material about this time period makes constant allusions to the levels of enmity, of sheer blood-feud hatred between the two factions; by all accounts it was extraordinary.  It’s not a construct of the novel, but a fact that hideous atrocities were committed, by both sides.  When FWTBT ends, the civil war is still raging. 

What we never read about or tend to forget is what happened after the Republicans lost and the civil war ended. What happened was the hunting down and execution of the losing-side, godless liberal commie Republicans, and this mass extermination continued for years after Franco’s ‘victory’ in 1939.  There were retaliation killings; thousands of ‘Republican traitors’  were rounded up, propped against walls and shot, then dumped in mass graves or otherwise disappeared by the victorious Fascists.  Yet pockets of resistance remained, in the mountains and elsewhere. 

I can almost see you scratching your heads in puzzlement, wondering why the decidedly un-bloodthirsty-minded Me should be so interested in this bloodthirsty era.   The answer to that is: I’ve read a lot about it , but somehow never dwelled on the violence. I always read about the brutality but then let it float right past and out of my brain entirely.   No more. Pan’s Labyrinth brought the blood-drenched aspects of that conflict finally to life for me, and I doubt I will ever be able to disappear that imagery from my mind.          

As Pan’s Labyrinth begins, Ofelia and her pregnant mother arrive at the remote military outpost where Ofelia’s stepfather the Captain leads the Francoist forces in efforts to wipe out the resistance fighters — think of them as the same band from For Whom the Bell Tolls, seven  years later — holed up in the mountains.
      
…And that’s all of the plot I’m going to reveal. [ /ADDED]

Posted: January 22nd, 2007 under Cinema, General.
Comments: 1

Mal Valour, our dependable Hollywood quote whore, has the definitely not-weak weekly paean to the insurmountable, unsurpassable splendor that is this week’s new release:

THE DEPARTED

Eighty-Three and a Half Stars!!!

Get ready to Depart - For the best film of the Millenium !!

HOLLYWOOD - There is no doubt about it, The Departed is absolutely and without exception the finest work of cinematic art of the century, perhaps of the millennium. An epic film of monumental proportions, an unparalleled masterpiece of such magnificent scope and sweep, to make another film after The Departed ought to be considered a crime against the art of filmmaking and the perpetrator beaten bloody with a pool cue.

Director Martin Scorsese easily cements his place in history as the Cecil B. DeMille of film. Never before has the screen seen such mastery, such power and glory, so evenly distributed over the length and height of the screen. Like a great conductor, Scorsese paints his sculptures with broad strokes. creating a architectural dance of striking harmonies and tonalities, vividly setting his cinematic saga to the tune of “My Bloody Valentine.”

Jack Nicholson gives the kind of once-in-a-lifetime performance earns him an indelible place in the annals of actors who have delivered once-in-a-lifetime performances. Matt Damon gives the performance of his life as a hardened young cop who infiltrates the mob, while Leonardo DiCaprio, in a lifetime-best performance, plays a hardened young mobster who infiltrates the police force. Or it may be the other way around. I will definitely have to see the film to figure it out, and when I do, this pairing of acting titans will go down in history as one of the best pairs of performances the screen has ever known. Mark “E Mark” Wahlberg is doing the best work of his life in a role that visually confuses the lines between Matt Damon and Leonardo DiCaprio, at least for me.

But it all adds up to be the most stunningly interwoven assemblage of character nuance and narrative complexities the American cinema is likely to see between the current state of the art and the time the sun explodes, destroying all life on the planet. This triumphant achievement establishes itself as a work of such importance that it would not be excessive for Congress to consider legislation requiring all citizens to see it. It’s that important. With The Departed, Martin Scorsese has revealed himself to the world as a prophetic visionary of such unrelenting majesty that offerings ought to be made unto him, whole cities devoted to apostolic evangelism in spreading His Word made cinematic, and marble statues the size of the Colossus of Rhodes erected in His Holy Name. To do anything less would be to insult the very notion of cinema and perhaps rip asunder the primeval fabric of existence. Therefore I heartily encourage you to see this film now, before the soon-to-be-formed Cultural Police force you to do it later.

Mal Valour at The Weekly Blurb

Wow. Pretty good, huh, Mal?
I also like Mal’s categories:

This entry was posted on Friday, October 6th, 2006 at 8:06 PM and filed under Powerful and Important Films of this or Any Year, Finest Works of Cinematic Art of the Century, Stunningly Interwoven Assemblages of Character Nuance a.

Posted: October 7th, 2006 under Blurbtacular!, Cinema, General, Mal Valour.
Comments: none

The facts of Iraq are not in dispute. But the truth is that facts don’t matter anyway to this administration, and that’s what makes this whole N.I.E. debate beside the point. From the start, honest information has never figured into the prosecution of this war. The White House doesn’t care about intelligence, good or bad, classified or unclassified, because it believes it knows best, regardless of what anyone else has to say. The debate over the latest N.I.E. or any yet to leak will not alter that fundamental and self-destructive operating principle. That’s the truly bad news.

Frank Rich in the NY Times, via the Wege-ster (yes Mister G, two can play that game)

~~~~~~

So, yes, if we leave Iraq the terrorists will clap their hands and mock us as a pathetic paper tiger. It will be a very bad situation. We will enter into an uncertain, intimidating new world. But—and here’s the crucial point—we are already plunging blindly into that world. And we’re plunging into it with one hand tied behind our backs. As the situation now stands, there can be no “victory” in Iraq. Because what kind of victory depends on a permanent occupation? What kind of victory is contingent all our various enemies deciding not to attack us anymore? What kind of victory can we muster when there’s no state left to surrender to us, no ground for us to conquer, no declarations for us to sign and yet our soldiers and their civilians still die by the dozens every day? The question shouldn’t be decided as a matter of national pride—of “sticking it out” and proving America’s greatness—the question should be decided on the basis of what’s best for our country, their country, the region and the world. We are an economic giant, a military giant, and a free society. They are crazy theocrats. We disgrace ourselves by even suggesting that we need to save face in front of such people.

Insomnia Report, “The biggest scandal of them all…”

~~~~~~

It seems to be a textbook case: a pedophile in a position of power exploits underage minions, while hiding behind a cloak of virtue. In fact, it seems that truth here is stranger than fiction. It would take a literary hack, many would say, to write a lurid Washington novel about a Republican chair of the Missing and Exploited Children Caucus, himself sexually propositioning underage male pages.
“What blatant hypocrisy!” come the shouts from the left and the right. “What a scumbag!” they all say.
“Above all,” come the protestations from the right, “don’t politicize this one case of sheer hypocrisy.” “This matter is beyond politics,” they say.
But it’s NOT hypocrisy. It’s PAR FOR THE COURSE. And it’s not above politics, either–because what Mark Foley has done is the perfect example of what “conservatism” is all about.
“A bold claim,” you may say. “Can you back it up, spoon?”
Yes, I can.
The fundamental difference, you see, between conservatives and liberals in the social sphere goes far beyond the petty points that make up modern politics. Abortion, gay marriage, and the rest are but stars in the overall constellation of a philosophy that rests on the difference between openness and a false sense of propriety.

thereisnospoon(via Diary Rescue at dKos)

~~~~~~

This weekend’s movie at Chez Tild:

NIGHT OF THE HUNTER

Part melodrama, part horror movie, part fairy tale, NIGHT OF THE HUNTER unfolds like a fever dream in an American landscape both nightmarish and magical. This almost unbearably suspenseful tale — the only solo screenplay that critic James Agee ever wrote and the only film that actor Charles Laughton (RUGGLES OF REDGAP) ever directed — is a cinematic experience unlike any other. Robert Mitchum gives his most indelible performance here as a psychotic preacher with “love” and “hate” tattooed on each of his hands. After charming a small-town widow into marrying him, he proceeds to terrorize her children in order to get hold of the money left to them by their dead father. The peerless Lillian Gish is moving and magnificent as the elderly woman who becomes the children’s physical and spiritual guardian. Photographed by Stanley Cortez (THE MAGNIFICENT AMBERSONS) with shimmering light and deep shadows that eloquently express the story’s themes of good and evil, sin and redemption, NIGHT OF THE HUNTER is a beautiful, startling, and unforgettable film.

–a review by Kryssa Schemmerling, at bn.com

 

Rev. Harry Powell (Robert Mitchum): I can hear you whisperin’ children, so I know you’re down there. I can feel myself gettin’ awful mad. I’m out of patience children. I’m coming to find you now.

Rachel Cooper (Lillian Gish): I’m a strong tree with branches for many birds. I’m good for something in this world and I know it too.

~~~~~~

Posted: October 1st, 2006 under Cinema, Evil made visible, General, Good vs. Evil, Politics.
Comments: none

Calling all fans of silent film; of great movie music; and especially all fans of Tristero, who has been posting since the beginning of this year over at Digby’s place.

Turner Classic Movies is showing the 1928 Carl Dreyer film

The Passion of Joan of Arc tonight at 12:15 AM Eastern Time

–that’s 11:15 PM Central Time for those of us here in Minnesotistan.

Of special interest is the musical score accompanying this silent film:

The Passion of Joan of Arc is undoubtedly one of the most difficult silent films to score effectively; one could even argue that it is, atypically for silent films, best viewed without music. There is always a danger that the prospective composer or arranger will fall back on cliched notions of “spirituality” without somehow confronting the film’s radically experimental style. The searing close-ups, off-centered framings and disjunctive editing are, after all, an important source of the film’s emotional power. The 1951 version distributed by Lo Duca, for instance, appropriates music by Bach, Vivaldi and Albinoni in an attempt to impose a comforting sense of piety on the proceedings.

The version broadcast on TCM is accompanied by Richard Einhorn’s acclaimed 1994 oratorio Voices of Light, which has often been performed in conjunction with the film in recent years, though it is also designed to be performed independently. The voice of Jeanne is sung by Anonymous 4, a leading female vocal quartet specializing in medieval music; texts quoted in the oratorio include writings by the famed medieval feminist writer Christine de Pizan and male ‘misogynist’ writers from roughly the same era. The bell sounds were recorded at the church in Domremy, Jeanne’s birthplace.

For those of you who missed Digby’s reminder, composer Richard Einhorn is also the blogger Tristero.

It wasn’t a secret, but many of us didn’t know it, so there was much whooping and exclaiming in greater Blogistan when Digby pointed out the identity of Einhorn’s alter ego.

I’ve been waiting ever since for this movie to show up on TCM, and tonight’s finally the night. That time once again:

The Passion of Joan of Arc

on TCM (Turner Classic Movies; check your cable company’s listings)

tonight, Sunday September 3rd, at

11:15 PM Central Time

12:15 AM Eastern Time

Posted: September 3rd, 2006 under Blogistan, Cinema, General, General.
Comments: 7

I’ve been hearing from my kids for months now about a movie coming out later this year called The Prestige.

It’s got Best, Most Ass-kicking Batman Ever Christian Bale! And ultimate Cool Old Dude Michael Caine!  It’s directed by Memento/Batman Begins director Christopher Nolan!  And best of all: David Bowie plays Nikolai Tesla!  This movie is going to absolutely rock!  

Now Jessica Crispin chimes in:

Don’t tell anyone, but I’m just now getting around to reading Christopher Priest’s The Prestige. It’s been on my shelves for god knows how long, but it took dreamy Christian Bale and dreamy Wolverine in a preview for the adaptation to get me off my ass to read the book. And yes, it’s as good as everyone already said years ago. But quick, you only have until October 20 to read the novel so you can sniff and say, “Yes, but in the book _____ was handled in a vastly superior way.”

Sweet. Hey, in that case I think I just might have to read it too. 

 

 

  

Posted: August 29th, 2006 under Cinema, General.
Comments: none

Hmm. If that’s the song playing in my head right now, then I may be on the SS Poseidon (the original, not either one of the remakes), in which case I can easily guess which character I’m playing. …Just call me Shelley.

Doesn’t exactly bode well for a Monday morning, does it?

~~~~~

Speaking of movies: Wolcott was right — Seven Men From Now is a very nifty, intelligent, economical little western with beeyootiful scenery of various kinds (Randolph Scott’s jawline; some scrubby corner of California desert; Lee Marvin).

Sounds like Wolcott may be, like me, a fan of the director, Budd Boetticher. Boetticher directed a series of westerns with Randolph Scott in the 1950s that have become celebrated cult classics. Seven Men From Now (1956) is one of them, and I’d never seen it before last night. Now it’s on my list of favorites. It’s a real corker.

~~~~~

I’ve been studying something concerning a certain corporate CEO who shall remain nameless. You tell me: is this anything?

~~~~~

I jumped on the Tim Walz bandwagon back in June when I heard him speak at the DFL state convention in Rochester. Wow. Hear somebody who can actually address a crowd with intelligence and passion, and next thing I know I’m thinking about moving to the 1st CD just so I can vote for this guy.

Let me be the latest to jump on the bandwagon in praise of Ollie Ox of Bluestem Prairie and BSP’s coverage of the 1st CD race between Walz (D- netroots rising) and Gil Gutknecht (R- out of touch).

Go immediately to read the BSP account of Saturday’s debate in Owatonna. Now THAT’s what I call some great blogging.

Speaking of which, don’t forget the most excellent Evil Bobby, who has an additional secret weapon in the intrepid Mrs. Evil Bobby and her mad video camera skills. Очень хорошо!

Posted: August 21st, 2006 under Cinema, General.
Comments: 5

It’s been a rough month for Mal Valour, our dependable Hollywood quote whore.

What happens to a blurb writer, whose job it is to tout each and every movie as if it’s Citizen Kane and Snakes on a Plane rolled into one, when a movie comes along that’s impossible to say anything positive about?

No fears. After a brief detour into film blurb Death Valley, this week Mal’s back to scaling the heights of Mt. Everest in his neverending search for new, better and more unctuous superlatives.

And what better fare to trot out those adoring raves for than scintillating blockbusters You, Me and Dupree and John Tucker Must Die?

Plus Mal’s latest blurb/review: Miami Vice. I’ll go out on a limb here and bet that Mal found ‘Vice’ to be very nice!

Posted: August 5th, 2006 under Blurbtacular!, Cinema, Mal Valour.
Comments: none

Bill Nighy and Kelly Macdonald are quite the cozy couple as they share a hotel elevator in The Girl In the Cafe

Editor’s note: Edited–again — at 12:27PM, 07-17-2006.  Taking out the typos and grammar gaffes.  Again.  I did this last night, but Bloglines doesn’t seem to be updating the feed, so once more into the breach.   

With a G8 Summit conference going on in Russia this very weekend, the perfect cinematic accompaniment is to be found in this quirky little movie made by the BBC in 2005.

Bill Nighy, seen most recently as the rather Cthulhu-esque Davy Jones in the new Pirates of the Caribbean movie, stars as Lawrence, an awkward and self-effacing civil servant in the office of the Chancellor of the Exchequer. The research team Lawrence is part of is preparing for a G8 summit conference on world poverty which will soon be held in Reykjavik.

One day in a crowded cafe Lawrence meets Gina (Kelly Macdonald) a young Scot with lots of time on her hands but noticeably few words to say. Recognizing their mutual loneliness, the pair meets for dinner once or twice; talk a little; start to get comfortable with each others’ silences. Then, on an impulse Lawrence asks Gina to come with him to Iceland for the G8 conference.

Once they are there and encountering some of the world’s most powerful people at dinners and cocktail parties, the previously quiet Gina suddenly begins to talk.   Not inconsequential, social smalltalk, either:  Gina has seen what a once in a lifetime opportunity she’s been given, and starts asking some very sharp questions of the assembled world leaders.

Let’s say you are an ordinary citizen who’s never come even remotely close to having real access to the people who inhabit the corridors of power. Which is to say: like most of us.  If you were to suddenly find yourself in the same room with the leaders of eight of the most influential countries in the world, what would you say? What kind of questions would you ask?

[Discussing how much money the G8 countries will spend this year to combat poverty, AIDS, and hunger]:

Gina: Is all right good enough? Is all right good enough for you, Mr. Gerhardt?
Chancellor of the Exchequer: I think all right is a lot more than many expected.
Gina: So lots more mothers die the day they give birth? Lots more children die before they’re five? Lots and lots more die of diseases that are just a jab and a jolt to people like you and me?

Herr Gerhardt: Young lady, I think it might be helpful for you to look at it the other way around - thousands will benefit from what we do today.
Gina: I can see that. It’s just, you know… tough, for those on the wrong side of the line.

Speaking truth to power so unabashedly is bound to bring unwelcome scrutiny. Who is Gina? Where did she come from? What’s her background? How much does Lawrence really know about her?  Having brought a woman who is obviously a “security risk” to a world summit meeting, where she insists on asking inconvenient questions, Lawrence starts to fear not only for his tentative new relationship, but also for his job.

The screenplay is by Richard Curtis, and plays out very much like a leftover storyline from his 2003 film  Love Actually.
I have to give Curtis and company major credit, however, for not going for the easy answers; the pat conclusion; the unambiguous ending with all the loose ends tied up neatly. I think you may be genuinely surprised by the film’s ending. I was. Also very moved.
So hey — Go on; take a chance; try a movie that dares to be entertaining AND that encourages you to think about real solutions to some of the world’s most difficult problems.

And if you do, don’t spoil the ending for your friends who haven’t seen it yet.

Posted: July 17th, 2006 under Cinema, General, Politics.
Comments: 2

This was a fun weekend. Will wonders never cease?

I took Friday off and spent the entire day wandering from one delight to another, and just really enjoying the absence of deadlines and quotas and goals and imperatives. Ahh. Peace –it’s wonderful.

First was a gabby long breakfast catching up with a dear old friend ; then an hour spent nosing around in the reference stacks at the Chan library; then to the EP mall to catch a bargain matinee of The Devil Wears Prada

[Meryl Streep plays the hands-down most scarifying, scenery-shredding , monstrous boss in movie history; what they used to call a "Boss Lady" in movies from the 40s and 50s; a part usually played by Joan Crawford or Bette Davis or Barbara Stanwyck. *sigh* I could watch La Streep for days.]

What really made me bust out in guffaws, tho, was the trailer for Running With Scissors, coming out this fall, and starring imo two of the most criminally underrated actors of all time: Alec Baldwin and Annette Bening. I think I’ve definitely gotta see this one as soon as it comes out.

After the movie I realized that I had two coupons for stuff at my local B & N. One for a free drink from the cafe and the other for an additional 15 % off one item, so there went another hour…

Finally, the day was bookended with another long gabfest/dinner with dear friends.

[Not only dear but also tolerant. While they discuss substantive issues of the socio-economic-political world, they smile benignly and nod at me as I lamely prattle on about how cool those "picture tube" thingies are in Paintshop Pro and now if only I could figure out how to use them....

Now that's tolerance, for which I am very grateful.]

After dinner at Erté we walked across the street to talk a while longer at our usual Thursday evening DL destination, the 331 Club. When the Crazy Uke, one of our favorite denizens of the wingnut fever swamp and FOL [Friend Of Lileks] made his usual appearance as he does every evening, we were sitting outside exactly where we’d been the night before for Drinking Liberally. We tried to convince him that we’d never left. Heh.

Gotta get to work. More to come, including: the sophisticated European ambience of — Minnehaha Park?

UPDATE: I don’t remember what happened Saturday. Alas! Another day lost forever to the unforgiving void! Ehh, so what.

I do remember that we spent Sunday afternoon at Minnehaha Park. It was Norway Day, altho I don’t know how anybody could have easily figured that out, considering the anemic little stage program and the paltry crop of merchants selling  swords and hauberks and shields and leather leggings and woodcarvings of tomtes riding on pigs and denim vests decorated with rosemauling and Lutefisk Chef aprons — you know, the usual.

We tried the Sea Salt Eatery, and agreed it was several jumps above the kind of place you’d expect to find operating in a Minneapolis Park Board refectory. The cajun shrimp po’boy sammiches SYTU* and I had were really good, but SETU’s** squid steak sandwich was even better. Definitely worth a return visit.

Maybe it was because of the World Cup final game showing on the mini-jumbotron TV in the refectory to a big crowd of mostly Italy fans, or maybe it was because of the corgis and daschhunds sitting calmly at their people’s feet under the bistro tables outside the Sea Salt — a common sight both inside and outside many European cafes, but pretty rarely seen in Minneapolis.

I don’t know why it was, but yesterday Minnehaha Park had a distinctive Modern Euro atmosphere that I’ve never noticed before. Gone, or mostly gone, was the geriatric white belt and golf pants set that has populated Norway Days and Svenskarnas Dags since the dawn of time. The doddering unfashionable oldsters have been replaced by large numbers of buff, tanned, over-60s bicyclists wearing Pearl Izumi and Under Armour. The place looked like the Senior Circuit of the Tour de France. When did that happen?

There was nary a feed cap nor a JC Penney polyester pantset to be seen in the entire park. Just crowds of elegant grandparents in batik strolling with their adorable grandbabies in organic cotton by Hanna Anderson.

Uhh, gee — can anyone tell I just saw a movie about the fashion industry?

*Surly Younger Teenaged Unit

**Surly Elder Teenaged Unit

Posted: July 10th, 2006 under Blogistan, Cinema, General, General, I only drink Liberally.
Comments: none

Wow. This movie is so cool.

…And that was said by somebody who hates anything with vampires in it. Go watch. Now.

Posted: June 22nd, 2006 under Chez Tild, Cinema, po russki.
Comments: none