Comments for As Cool As A Fruitstand

Comment on What’s Making Me Happy this week – Week 30 by Kaj

Kaj — Wed, 08 Aug 2012 23:52:26 +0000

You’re naming all the reasons why I loved Brave. Though that doesn’t mean I want you to hold out on Ron Swanson and co.

Comment on The Dark Knight Rises, comics, and… Magic Mike? by Hedwig

Hedwig — Mon, 30 Jul 2012 13:33:02 +0000

Haha, well, you were very passionate about TDK (5 stars, if I remember correctly?), and if we didn’t occasionally get transported by films beyond reason, we probably wouldn’t be reviewers, right?

Comment on What’s making me happy this week – week 28 by Hedwig

Hedwig — Mon, 30 Jul 2012 13:32:02 +0000

I really like Sepinwall’s recaps in general – but didn’t remember that he did THE WIRE, too. Thanks!

Comment on What’s making me happy this week – week 28 by Kaj

Kaj — Tue, 24 Jul 2012 13:33:07 +0000

I’ve always found Alan Sepinwall’s reviews of The Wire to be illuminating. (http://sepinwall.blogspot.nl/)

Comment on The Dark Knight Rises, comics, and… Magic Mike? by Kaj

Kaj — Tue, 24 Jul 2012 13:17:06 +0000

I’ll make a comment just to apologize for the tone of the comments under your post on The Dark Knight.

Comment on What’s making me happy this week – week 24 by Kaj

Kaj — Mon, 18 Jun 2012 12:56:08 +0000

A wise choice to skip that match…

Comment on My week in Pop Culture – Week 21 by Hedwig

Hedwig — Tue, 29 May 2012 13:32:17 +0000

Hey!

Your not-vacuous-at-all comments are always welcome, as you know

The director’s cut of KoH still suffers from a Bloom overload (I totally agree that he cannot carry a movie – was great as sniveling Paris in TROY though), but I do think it’s better than the theatrical cut. Lots of medievalism!

Comment on My week in Pop Culture – Week 21 by Lanja

Lanja — Mon, 28 May 2012 18:02:37 +0000

OMG, Kingdom of Heaven! Brilliant memories! The Medieval Studies Student Association went as a group and snickered and moaned through the entire running time. I’m intrigued by your comment that the director’s cut is better than the theatrical one – would it change my opinion that Orlando Bloom cannot carry a movie as a leading man? Or am I laying too much blame at his feet, when in truth I should be faulting the director or script?

Sorry for the vacuous comment I’m apparently feeling really verbose these days.

Comment on For the love of film: perspective in VERTIGO by Grand Old Movies

Grand Old Movies — Wed, 16 May 2012 18:30:36 +0000

A great analysis – I admit, the perspectival shift is always a little jarring to me, but, as you note, it now gives us a double layer in seeing, as it were – Scottie’s view of Judy-as-Madeline, and then Judy’s own view, as she watches and reacts to being transformed back into Madeleine, with her focus always on wanting Scottie to love her for herself. It makes the final image all the more ambiguous, the scene when Scottie is poised on balcony edge and looking down where Judy just fell – who, then, is looking at Scottie? Whose viewpoint is that? It’s like the moment in Psycho, when, after Marion’s murder, the camera travels through her hotel room, and there’s no one there – so WHO is looking? it’s after that point that we shift to Norman’s view (when he comes back to clean up the mess ‘Mother’ has made). Hitchcock seems to play with the audience’s own sense of the experience of watching a film, giving a sense of how POV is always limited, but that SOMEONE may always be watching.

Comment on For the love of film: perspective in VERTIGO by tinkyweisblat

tinkyweisblat — Wed, 16 May 2012 14:41:48 +0000

I guess I’ll have to go back and watch the film again with this in mind. I love the idea of changing P.O.V.–and therefore identification. Thanks!