Tonight I saw Elf, starring Will Ferrell and Zooey Deschanel.
The modern holiday classic is always a joy to watch, but I had never seen it on the big screen until tonight. Thank you, Edmonds Theater!
Buddy (Ferrell) is adopted at the North Pole and raised as an elf in Santa's workshop, though his human qualities don't always fit in with his peers. He begins a quest to develop a relationship with his father, Walter (James Caan), and heads to New York City to do so.
There, Buddy is basically a bull in a China shop. He dresses as an elf and disrupts every environment he enters with his childlike behavior and naiveté. Though his father thinks of him as a burden, his stepmother Emily (Mary Steenburgen) and his colleague Jovie (Deschanel) see past his oddball tendencies and realize the sweet spirit that lies beneath.
It's a hilarious character that could only be executed by Ferrell in this way; for underneath the slapstick is a whole lot of heart. That, coupled with his chemistry with Deschanel (who, thankfully for us, gets to share her beautiful voice for a bit in this film) makes for a surprisingly sentimental holiday comedy.
I won't ever tire of this Christmas treat.
~~~
Showing posts with label New York City. Show all posts
Showing posts with label New York City. Show all posts
Friday, December 06, 2019
Wednesday, July 25, 2018
Three Identical Strangers
On Monday I saw the documentary Three Identical Strangers.
In 1980, Bobby Shafran, Eddy Galland and David Kellman discovered they were triplets. They grew up in separate households within 100 miles from one another, all adopted from the same agency. They had no prior knowledge they were part of a multiple birth, nor did their adoptive parents. But they were grateful to have found one another and became fast friends.
The triplets moved in together, went into business together and went clubbing together. They enjoyed instant fame and took advantage of all the perks it provided.
The parents, on the other hand, wanted answers. They returned to the agency where they'd adopted their boys and demanded to know why they weren't told they were triplets. They were told they would have been harder to place if kept together—but that wasn't the truth.
In reality, the triplets and dozens of other twins were part of an elaborate secret study trying to determine the power of nurture over nature. Case workers visited their houses as they grew up to observe their behavior, interview them, film them and learn about their habits—all under the guise of a study that was just meant to study adopted children.
Once they discover this deceit, they search for those who can provide answers, and the tale gets even more twisted from there. Laced with tragedy and pain, the true magnitude of how many people the study impacted may never be known.
The film was excellent, but is shot like a news magazine so there's nothing new to the storytelling. Also, I wish they hadn't repeated a few of the clips multiple times because that diluted, instead of strengthened, the point they were trying to make.
Still, well worth seeing for the story itself, which confirms that truth remains stranger than fiction.
~~~
In 1980, Bobby Shafran, Eddy Galland and David Kellman discovered they were triplets. They grew up in separate households within 100 miles from one another, all adopted from the same agency. They had no prior knowledge they were part of a multiple birth, nor did their adoptive parents. But they were grateful to have found one another and became fast friends.
The triplets moved in together, went into business together and went clubbing together. They enjoyed instant fame and took advantage of all the perks it provided.
The parents, on the other hand, wanted answers. They returned to the agency where they'd adopted their boys and demanded to know why they weren't told they were triplets. They were told they would have been harder to place if kept together—but that wasn't the truth.
In reality, the triplets and dozens of other twins were part of an elaborate secret study trying to determine the power of nurture over nature. Case workers visited their houses as they grew up to observe their behavior, interview them, film them and learn about their habits—all under the guise of a study that was just meant to study adopted children.
Once they discover this deceit, they search for those who can provide answers, and the tale gets even more twisted from there. Laced with tragedy and pain, the true magnitude of how many people the study impacted may never be known.
The film was excellent, but is shot like a news magazine so there's nothing new to the storytelling. Also, I wish they hadn't repeated a few of the clips multiple times because that diluted, instead of strengthened, the point they were trying to make.
Still, well worth seeing for the story itself, which confirms that truth remains stranger than fiction.
~~~
Wednesday, November 30, 2016
Fantastic Beasts and Where to Find Them
On Monday I saw the Harry Potter prequel Fantastic Beasts and Where to Find Them starring Eddie Redmayne and Katherine Waterston.
Newt (Redmayne) is a magizoologist, who goes to great pains to protect the wondrous beasts of the magical world. Set in the 1920s, the Hogwarts graduate travels to New York City and quickly loses track of many of the creatures he's set out to protect.
Through a comedy of errors, he connects with a muggle baker (Dan Fogel) who accidentally sees too much and must be (at least temporarily) brought along for the ride. The two encounter magical sisters, Tina (Waterston) and Queenie (Alison Sudol), who are fond of the pair, though Tina's intention is to turn Newt in (she's an investigator in the magical congress).
Along the way they are confronted by evil in villains played by Samantha Morton, Colin Farrell and Johnny Depp, respectively. There's a lot of action, but not a whole lot of substance.
A few specific things bugged me:
Newt (Redmayne) is a magizoologist, who goes to great pains to protect the wondrous beasts of the magical world. Set in the 1920s, the Hogwarts graduate travels to New York City and quickly loses track of many of the creatures he's set out to protect.
Through a comedy of errors, he connects with a muggle baker (Dan Fogel) who accidentally sees too much and must be (at least temporarily) brought along for the ride. The two encounter magical sisters, Tina (Waterston) and Queenie (Alison Sudol), who are fond of the pair, though Tina's intention is to turn Newt in (she's an investigator in the magical congress).
Along the way they are confronted by evil in villains played by Samantha Morton, Colin Farrell and Johnny Depp, respectively. There's a lot of action, but not a whole lot of substance.
A few specific things bugged me:
- At one point, Queenie flirts by saying that the baker "slays" her. Pretty sure the slang for that term has only been around for about a decade, if that.
- The set design for the New York of the 1920s is gorgeous. We barely see it.
- "Fantastic Beasts" is in the title, but they're only really the star in the very beginning and toward the end. I found the film overall to be creature-deficient.
Aside from that, the pace was way too slow, but that's probably because they're greedily squeezing five books out of one novella.
The performances are great, and the supernatural elements are well done But overall the film lacks the special... dare I say... magic... of the Potter series.
~~~
Sunday, November 09, 2014
St. Vincent
Today I saw St. Vincent, starring Bill Murray and Melissa McCarthy.
Maggie (McCarthy) is a single mother enduring an ugly divorce, who is determined to provide a good life to her young son, Oliver (Jaeden Leiberher).
Vin (Murray) is the drunken next-door neighbor who they meet after their moving truck smashes into his tree, damaging his car and fence. Understandably, he's less than pleased.
Though they get off on the wrong foot, Vin soon becomes Oliver's babysitter by default and an odd, if not sweet, bond begins to form between the two after-school friends.
Though at first Vin seems like a very one-dimensional loser, we quickly learn there's more to him than meets the eye: He's unimaginably kind to the prostitute (played by Naomi Watts, sporting a Russian accent) he patronizes regularly; he makes sure his wife in the nursing home is treated with the best care possible and he treats his fluffy white cat, Felix, like royalty.
Children are typically good judges of character and Oliver is no exception. Though he deems Vin as "grouchy", there is something about him that he admits is redeeming.
The first half of the film is very much like About a Boy, with Vin playing hero to Oliver when he's bullied, etc., but then the second half takes a darker turn.
McCarthy's performance as a woman scorned is fantastic—it's actually nice to see her play it straight in this movie, instead of her usual comedic self. She's very raw and convincing as a woman trying to keep it together as her world is crumbling around her.
Murray is predictably phenomenal as well, playing both the dramatic and comedic parts with equal swagger. He's just a master, that's all.
And newcomer, Lieberher doesn't fall prey to the typical annoying kid acting traps. He is wise, but not mature and smart but not precocious. Delightful at any angle.
The only major flaw this film has is its formulaic script. Though there are a few small twists that you may not see coming, the end result is pretty obvious from the time the opening credits roll.
But sometimes, that's okay.
~~~
Maggie (McCarthy) is a single mother enduring an ugly divorce, who is determined to provide a good life to her young son, Oliver (Jaeden Leiberher).
Vin (Murray) is the drunken next-door neighbor who they meet after their moving truck smashes into his tree, damaging his car and fence. Understandably, he's less than pleased.
Though they get off on the wrong foot, Vin soon becomes Oliver's babysitter by default and an odd, if not sweet, bond begins to form between the two after-school friends.
Though at first Vin seems like a very one-dimensional loser, we quickly learn there's more to him than meets the eye: He's unimaginably kind to the prostitute (played by Naomi Watts, sporting a Russian accent) he patronizes regularly; he makes sure his wife in the nursing home is treated with the best care possible and he treats his fluffy white cat, Felix, like royalty.
Children are typically good judges of character and Oliver is no exception. Though he deems Vin as "grouchy", there is something about him that he admits is redeeming.
The first half of the film is very much like About a Boy, with Vin playing hero to Oliver when he's bullied, etc., but then the second half takes a darker turn.
McCarthy's performance as a woman scorned is fantastic—it's actually nice to see her play it straight in this movie, instead of her usual comedic self. She's very raw and convincing as a woman trying to keep it together as her world is crumbling around her.
Murray is predictably phenomenal as well, playing both the dramatic and comedic parts with equal swagger. He's just a master, that's all.
And newcomer, Lieberher doesn't fall prey to the typical annoying kid acting traps. He is wise, but not mature and smart but not precocious. Delightful at any angle.
The only major flaw this film has is its formulaic script. Though there are a few small twists that you may not see coming, the end result is pretty obvious from the time the opening credits roll.
But sometimes, that's okay.
~~~
Thursday, September 18, 2014
Love is Strange
Tonight I saw Love is Strange, starring John Lithgow and Marisa Tomei.
Ben (Lithgow) has loved George (Alfred Molina) for nearly 40 years. When we meet them, it's their wedding day; a joyous occasion celebrated intimately with close friends and family. A short time later, we see them gathered with the same group of people for a more somber reason: George has lost his job.
As a longtime music teacher in a faith-based school, the higher-ups can no longer ignore his homosexuality and let him go. As a result he and Ben have to find someplace to live, but the only one of their loved ones that has a spare room lives over two hours away, so they must split up.
George remains close to their prior home with friends, sleeping on their living room couch; Ben moves in with his nephew and his family, bunking with his grandnephew, teenage Joey. It's not an ideal situation, but they appreciate the kindness they are shown and do their best to be good houseguests.
Life goes on, but the strain is hard on everyone including Kate (Tomei) who can't focus on her writing with her houseguest always around. And poor George, who can't sleep because his hosts like to perpetually party.
At first, it feels like the film isn't really going anywhere, it's slow pace begging to be accelerated, but when it nears the end, your heart is undeniably full.
The touching performance by Lithgow, complemented by the conflict reflected in Tomei's eyes make you ache for a better solution for all of them. It's a cast of likeable, humble characters just trying to get through life's injustices without feeling sorry for themselves.
They're doing the best they can with the bad hand they've been dealt and that's a feeling I suspect all of us have had at one time or another.
It's also a lesson to keep love close to your heart if you're lucky enough to find it.
~~~
Ben (Lithgow) has loved George (Alfred Molina) for nearly 40 years. When we meet them, it's their wedding day; a joyous occasion celebrated intimately with close friends and family. A short time later, we see them gathered with the same group of people for a more somber reason: George has lost his job.
As a longtime music teacher in a faith-based school, the higher-ups can no longer ignore his homosexuality and let him go. As a result he and Ben have to find someplace to live, but the only one of their loved ones that has a spare room lives over two hours away, so they must split up.
George remains close to their prior home with friends, sleeping on their living room couch; Ben moves in with his nephew and his family, bunking with his grandnephew, teenage Joey. It's not an ideal situation, but they appreciate the kindness they are shown and do their best to be good houseguests.
Life goes on, but the strain is hard on everyone including Kate (Tomei) who can't focus on her writing with her houseguest always around. And poor George, who can't sleep because his hosts like to perpetually party.
At first, it feels like the film isn't really going anywhere, it's slow pace begging to be accelerated, but when it nears the end, your heart is undeniably full.
The touching performance by Lithgow, complemented by the conflict reflected in Tomei's eyes make you ache for a better solution for all of them. It's a cast of likeable, humble characters just trying to get through life's injustices without feeling sorry for themselves.
They're doing the best they can with the bad hand they've been dealt and that's a feeling I suspect all of us have had at one time or another.
It's also a lesson to keep love close to your heart if you're lucky enough to find it.
~~~
Sunday, March 20, 2011
Taxi Driver
Last night I screened the 35th anniversary re-release of Taxi Driver, starring Robert De Niro and Jodie Foster.
All the lonely people, where do they all come from?
That line from The Beatles'"Eleanor Rigby"fits this film like a glove, as its main character, Travis Bickle (De Niro), tries to find companionship and contentment in 1970s New York.
He's a veteran of Vietnam (though that detail is not overblown) who has alienated himself intentionally from his family and taken on a job as a cab driver, working extended hours to combat his insomnia.
As he drives the streets of the gritty city, he witnesses horrific acts of violence and deviance. And though he's judgmental of these behaviors, he himself has a porn habit and thinks nothing of taking the woman of his dreams, Betsy (Cybill Shephard), to an adult film on their second date.
When Betsy up-and-leaves near the beginning of the film, Travis is baffled by her reaction and continues to attempt to connect with her, though she rejects him.
He becomes obsessed with righting wrongs in his own way, tries to rescue a not-yet-teenage prostitute, Iris (Foster), and purchases an arsenal of weapons to execute his plan. He is a fully functional, mentally ill mess of a person.
Having watched this film a handful of times on VHS and DVD doesn't compare for a moment to experiencing it on the big screen. Hearing the crowd react to the 'surprises' in the storyline and seeing repeated close-ups of the young De Niro acting primarily through expression truly reveals the genius of director Scorcese's depth.
Iconic lines are delivered with conviction; tension is built through the continuous loop of saxophone; just enough comic relief is introduced to allow the audience to breathe.
A pre-Giuliani New York City is the second most important character to De Niro's Travis, showed as the dangerous, dark place that it once was.
Something must also be said for Jodie Foster's amazing performance as a young hooker who knows no other life. The wisdom of this then-future Oscar winner shines through as she holds her own with De Niro and Harvey Keitel. It's a role all young actors should be forced to watch.
35 years later, Scorcese's masterpiece remains just that—a brilliant character study and master class on portraying mental illness.
~~~
All the lonely people, where do they all come from?
That line from The Beatles'"Eleanor Rigby"fits this film like a glove, as its main character, Travis Bickle (De Niro), tries to find companionship and contentment in 1970s New York.
He's a veteran of Vietnam (though that detail is not overblown) who has alienated himself intentionally from his family and taken on a job as a cab driver, working extended hours to combat his insomnia.
As he drives the streets of the gritty city, he witnesses horrific acts of violence and deviance. And though he's judgmental of these behaviors, he himself has a porn habit and thinks nothing of taking the woman of his dreams, Betsy (Cybill Shephard), to an adult film on their second date.
When Betsy up-and-leaves near the beginning of the film, Travis is baffled by her reaction and continues to attempt to connect with her, though she rejects him.
He becomes obsessed with righting wrongs in his own way, tries to rescue a not-yet-teenage prostitute, Iris (Foster), and purchases an arsenal of weapons to execute his plan. He is a fully functional, mentally ill mess of a person.
Having watched this film a handful of times on VHS and DVD doesn't compare for a moment to experiencing it on the big screen. Hearing the crowd react to the 'surprises' in the storyline and seeing repeated close-ups of the young De Niro acting primarily through expression truly reveals the genius of director Scorcese's depth.
Iconic lines are delivered with conviction; tension is built through the continuous loop of saxophone; just enough comic relief is introduced to allow the audience to breathe.
A pre-Giuliani New York City is the second most important character to De Niro's Travis, showed as the dangerous, dark place that it once was.
Something must also be said for Jodie Foster's amazing performance as a young hooker who knows no other life. The wisdom of this then-future Oscar winner shines through as she holds her own with De Niro and Harvey Keitel. It's a role all young actors should be forced to watch.
35 years later, Scorcese's masterpiece remains just that—a brilliant character study and master class on portraying mental illness.
~~~
Sunday, December 16, 2007
I Am Legend
Today I saw I Am Legend, starring Will Smith.
If I hadn't yet seen No Country For Old Men, I may have claimed this was the most nervewracking film of 2007, but even it can't match the Coen brothers gift for tension.
At the core of this science-laden story is heart. Will Smith, always great, plays Robert Neville—a successful scientist convinced he can reverse a terrible virus that has wiped out New York City (and apparently most of the United States as well). We learn the virus had initial good intentions as a cure for cancer (a cameo by Emma Thompson delivers this revelation), but went terribly wrong as it mutated.
As you can imagine, what ensues forces you to abandon all rational thought and play the suspension-of-disbelief game with a non-thinking head.
Instead of the infected just withering away (as one may expect, after an incurable virus attacks the immune system), these victims exhibit "rabies-like" behavior (who knew rabies enabled you to scale walls and pull apart houses with superhuman strength?) and terrorize all who cross their path. They're not vampires in the traditional sense of the word, but they do have an aversion to light and a tendency to chomp at flesh.
Amidst all of this silliness, Neville somehow manages to make us feel sorry for him and bask in his lonely existence (though if I were him, I wouldn't be 'borrowing' one DVD at a time from the now desolate video store—I'd borrow a whole shelf). His dog Samantha brings him a fair amount of companionship, as dogs generally do, and familiar sounds such as Bob Marley on the stereo and Ann Curry on an obviously taped vintage Today Show would undoubtedly help keep one's sanity in tact if they were the last human roaming the city (after all, deer, lions, etc. seem to have no trouble avoiding the virus).
In the visual sense, this movie is arguably great. When things jump out at the characters, you feel they're jumping into your lap; the sounds are just as unnerving.
But as a "I'm the last person left in the world, what am I going to do with myself?" sci-fi romp, I'm disappointed the character chooses to stay at "ground zero" to pursue his mission.
The movie, brief in length, does manage to keep the viewer engaged until the ultimate predictable ending commences. For that, all of the stolen ideas from 28 Days Later can be forgiven.
If I hadn't yet seen No Country For Old Men, I may have claimed this was the most nervewracking film of 2007, but even it can't match the Coen brothers gift for tension.
At the core of this science-laden story is heart. Will Smith, always great, plays Robert Neville—a successful scientist convinced he can reverse a terrible virus that has wiped out New York City (and apparently most of the United States as well). We learn the virus had initial good intentions as a cure for cancer (a cameo by Emma Thompson delivers this revelation), but went terribly wrong as it mutated.
As you can imagine, what ensues forces you to abandon all rational thought and play the suspension-of-disbelief game with a non-thinking head.
Instead of the infected just withering away (as one may expect, after an incurable virus attacks the immune system), these victims exhibit "rabies-like" behavior (who knew rabies enabled you to scale walls and pull apart houses with superhuman strength?) and terrorize all who cross their path. They're not vampires in the traditional sense of the word, but they do have an aversion to light and a tendency to chomp at flesh.
Amidst all of this silliness, Neville somehow manages to make us feel sorry for him and bask in his lonely existence (though if I were him, I wouldn't be 'borrowing' one DVD at a time from the now desolate video store—I'd borrow a whole shelf). His dog Samantha brings him a fair amount of companionship, as dogs generally do, and familiar sounds such as Bob Marley on the stereo and Ann Curry on an obviously taped vintage Today Show would undoubtedly help keep one's sanity in tact if they were the last human roaming the city (after all, deer, lions, etc. seem to have no trouble avoiding the virus).
In the visual sense, this movie is arguably great. When things jump out at the characters, you feel they're jumping into your lap; the sounds are just as unnerving.
But as a "I'm the last person left in the world, what am I going to do with myself?" sci-fi romp, I'm disappointed the character chooses to stay at "ground zero" to pursue his mission.
The movie, brief in length, does manage to keep the viewer engaged until the ultimate predictable ending commences. For that, all of the stolen ideas from 28 Days Later can be forgiven.
Saturday, November 03, 2007
Bee Movie
This morning I saw Bee Movie, featuring the voices of Jerry Seinfeld and Renee Zellweger.
What a breath of fresh air!
Full disclosure: I'm not a huge animation fan. In fact, save for The Simpsons Movie, I don't think I've seen an animated film in the theater since the anniversary of Yellow Submarine, so seeing this today was somewhat out of the ordinary for me. I'm glad I followed my instinct and ignored my self-imposed snobbiness though, because I really would have missed out on something great if I'd passed it up.
The story begins with Barry (Seinfeld) graduating from beehood and preparing to enter the job force, which basically consists of making honey exclusively. Adventure-seeker that he is, before he finalizes his career choice, he takes a trip outside the hive to see what the human world is like. While he's there (in present-day New York City), he falls in love with a human, Vanessa (Zellweger), and discovers the travesty that is bee slavery as he flies past the honey aisle at the grocery store.
What commences is somewhat of an animated genius that includes all of the components of a live-action Hollywood film: a sweet romance, courtroom drama, suspenseful action sequences, surprising celebrity cameos and a wink of an ending.
The voices are distinct (who could miss Chris Rock as the cunning mosquito?) but not at all distracting. Particularly great is John Goodman as the fat human defense attorney. And what's more, there are just as many jokes for the adults to laugh at as there are for the kids.
Go see this one in the theater—the bright yellow hues of the 'sets' cast a sunny glow on the whole production, which is nothing short of charming.
What a breath of fresh air!
Full disclosure: I'm not a huge animation fan. In fact, save for The Simpsons Movie, I don't think I've seen an animated film in the theater since the anniversary of Yellow Submarine, so seeing this today was somewhat out of the ordinary for me. I'm glad I followed my instinct and ignored my self-imposed snobbiness though, because I really would have missed out on something great if I'd passed it up.
The story begins with Barry (Seinfeld) graduating from beehood and preparing to enter the job force, which basically consists of making honey exclusively. Adventure-seeker that he is, before he finalizes his career choice, he takes a trip outside the hive to see what the human world is like. While he's there (in present-day New York City), he falls in love with a human, Vanessa (Zellweger), and discovers the travesty that is bee slavery as he flies past the honey aisle at the grocery store.
What commences is somewhat of an animated genius that includes all of the components of a live-action Hollywood film: a sweet romance, courtroom drama, suspenseful action sequences, surprising celebrity cameos and a wink of an ending.
The voices are distinct (who could miss Chris Rock as the cunning mosquito?) but not at all distracting. Particularly great is John Goodman as the fat human defense attorney. And what's more, there are just as many jokes for the adults to laugh at as there are for the kids.
Go see this one in the theater—the bright yellow hues of the 'sets' cast a sunny glow on the whole production, which is nothing short of charming.
Tuesday, June 26, 2007
1408
Tonight I saw 1408, starring John Cusack and Samuel L. Jackson.
It's Kafka-esque kookiness with a bit of sadness...and a bit of humor thrown in.
The film focuses on author Michael Enslin (Cusack), who travels to 'haunted' hotels and reports on their paranormal (or just normal) activity. We soon learn he is a skeptic who recently left his wife after their only daughter died at a young age. His vices apparently include drinking and surfing. He is sarcastic and jaded and every other stereotype that writers are supposed to be.
After he receives an anonymous postcard to visit the Dolphin Hotel in New York City, he takes the bait and attempts to book the room referenced on the card. When he's unable to do this on his own, he gets his literary agent and lawyer involved and they force the issue. When he arrives at the hotel, a typically-charismatic Samuel L. Jackson (playing the manager) pleads with him to stay away from the room.
Now Samuel is wonderful, but the I-could-open-a-can-of-whoop-ass-on-you-in-an-instant rhythm of his speech is such a distraction, it's hard to take him seriously. And along the same lines, although Cusack is supposed to be a messed up, faithless woman deserter, he still somehow manages to be likable—even attractive at times.
But I digress.
At the heart of the movie is a man who is lost in grief and subconsciously hoping to find proof of something else in the universe.
In room 1408, he finds it and we jump.
It's Kafka-esque kookiness with a bit of sadness...and a bit of humor thrown in.
The film focuses on author Michael Enslin (Cusack), who travels to 'haunted' hotels and reports on their paranormal (or just normal) activity. We soon learn he is a skeptic who recently left his wife after their only daughter died at a young age. His vices apparently include drinking and surfing. He is sarcastic and jaded and every other stereotype that writers are supposed to be.
After he receives an anonymous postcard to visit the Dolphin Hotel in New York City, he takes the bait and attempts to book the room referenced on the card. When he's unable to do this on his own, he gets his literary agent and lawyer involved and they force the issue. When he arrives at the hotel, a typically-charismatic Samuel L. Jackson (playing the manager) pleads with him to stay away from the room.
Now Samuel is wonderful, but the I-could-open-a-can-of-whoop-ass-on-you-in-an-instant rhythm of his speech is such a distraction, it's hard to take him seriously. And along the same lines, although Cusack is supposed to be a messed up, faithless woman deserter, he still somehow manages to be likable—even attractive at times.
But I digress.
At the heart of the movie is a man who is lost in grief and subconsciously hoping to find proof of something else in the universe.
In room 1408, he finds it and we jump.
Wednesday, May 09, 2007
Spider-Man 3
Tonight I saw Spider-Man 3, starring Tobey Maguire and Kirsten Dunst.
It was the topic of Cinebanter 30, which is available for download here.
It was the topic of Cinebanter 30, which is available for download here.
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