BYOB – Friday 121908
Ev’rybody’s workin’ for the weekend…
(Corrected, 5:52p, by the good lyrical graces of one of Hollywood’s good guys.)
April 28, 2024
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?
So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.
And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.
There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.
I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.
But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”
My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher
“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.
~ David Simon
Anyone heard anything about “Good”? I remember this play, love the cast and I’m very curious.
AO Scott on SEVEN POUNDS. Awesome. Is this really that bad?
Frankly, though, I don
Just screened “Let The Right One In.” Best nondoc I’ve seen all year. Totally OWNED. I loved everything about it and didn’t want it to stop. I could’ve watched this for 5 hours straight. Have to see it again, I think. MAN ON WIRE is still tops but this is a pretty easy #2, if not a tie for the top spot. Brilliant. And I will NEVER watch the US remake. Check it out, Lex.
LET THE RIGHT ONE IN is so fricking good. Buuuut…I saw it a second time and it lost some luster. Just sayin’…
I liked “Let the Right One In,” but I feel like its second hour strongly faltered by comparison to the first. I figured out where the arc was going early on, and the by-the-numbers “turning” and gore, etc. in the second half did little to engage me otherwise. Again, not a bad movie, just wildly overrated to me. Oh, and the U.S. remake is bound to exchange junior-high exploration for high-school heat and diminish the underlying magic of that first hour. No thanks.
Ugh, I wish they would show “Let the Right One In” here where I live. I’m seeing Slumdog Millionaire tomorrow, though. can’t wait.
Looking forward to “The Wrestler” and “Curious Case of BB.”
Gomorrah was sooooo cool last night. Anyone go?
Took a look at the source material for Let the Right One In and was beyond disturbed. There’s things in the movie that they reference but don’t explain — and it’s better that way. Specifically, her “keeper” and the quickie nude shot. There’s an ugly history to the whole story that kind of ruined the movie for me.
The Wrestler on the other hand is a glorious downer. But glorious nonetheless.
I’m really pissed that Hollywood is already doing a planned remake of “Let the Right One In.”
It makes me hate American studios so much more.
The “Pool Scene” in LET THE RIGHT ONE IN is literally the greatest thing I’ve seen on the screen all year. The movie is not perfect. Slow-paced, a few confusing motivations. But the simpleness and the two kids’ performances sold me. The build-up around it is because it’s not Twilight, and it’s low budget and very creepy. This one is not revolutionary, but very well done.
Two points:
1) Yes, I’ve heard nothing but good things about LET THE RIGHT ONE IN, *but*… is it ANOTHER one of those fantastical, semi-whimsical/semi-sinister “precocious kid in a nightmare world” movies, a la The Fall, Tideland, Pan’s Labyrinth, etc? I’m just slightly tired of those deals, especially that “world of horror seen through the eyes of an innocent” angle.
2) Ugh, I was looking forward to the Lurie-Beckinsale movie, but those are some primo “qualifying” bookings in L.A., eh? One of its two “exclusive engagements” is at THE BEVERLY CENTER??????
How’s the Crest these days? Looks like it’s there too… Haven’t been there in a decade, plus it’s on the ass-end of town for me, but anything’s gotta be better than Beverly Center on Christmas weekend (or any weekend.)
Nope, “Let the Right One In” is nothing like those movies, LexG. In fact, it’s hard to think of any movie to compare it to. I agree that it’s flawed (although I don’t agree that the mentioned things are the flaws), but it’s obviously the work of a filmmaker who has a strong point of view, who knows where to put the camera and who cares about telling a story visually. And that pool scene is the best single scene of the year.
No Lez….nothing like that at all.
And I concur that the pool scene is the best scene of the year.
It’s more like if The Lost Boys had been directed by David Cronenberg.
Meanwhile, back in Hollywood … Eddie Murphy is tipped to be the Riddler in the next Batman movie.
Chucky – check your source on that one.
I know that Eddie Murphy Riddler thing is BS….but is anyone else just kind of maaaybe a little intrigued by the idea like I am? I mean, Murphy *can* act…look at all those multiple roles he pulls off in shitty movies? I think he could do the Riddler and be good.
Lex: The Crest is a beautiful theatre, and both it and Rod’s film need your total support. Go there at once and OWN.
Eddie Murphy as the Riddler isn’t all that far-fetched. The source on this was the first to say Daniel Craig would be the latest 007.
Gawdalmighty, this is hot stuff about a Batman movie and jeffmcm thinks it’s shite?
Sat through three trailers (“Ice Age 3,” “Up” and “Coraline”) this afternoon, all of which were advertised as being in “Digital 3-D.”
How long before this current fad goes the way of Cinerama and, well, old-fangled 1950s 3-D?
I know it’s a great novelty/gimmick right now–and I’m sure that studios and exhibitiors love the 3-D surcharge, jacking the price of tickets up to near-Imax levels–but audiences have a lot more entertainment options than they did in the ’50s when TV was still a big deal.
It’s not a novelty if everyone’s doing it.
LEX G: nothing fantastical about it. It’s a straight-forward drama, there are some special effects but it’s kept pretty minimal. That’s what’s so refreshing about this movie, it’s portrayed as reality. A dark, bleak, cold reality. The music is also refreshingly not *sweeping / epic* type stuff.
Slumdog, Wrester and Curious Case of Benjamin Button are what I have left. Then I’m good for the year.
I fucking HATED Let The Right One In. It was a stupidly pretentious art movie, but with a vampire. It’s one of those bullshit movies that needs to inject five seconds of silence between every line of dialogue. And the lead actor was fucking annoying. I am seriously baffled at the support it’s got, unless critics are just duped into liking it because it’s an art movie with vampires.
The following contains a Let the Right One In SPOILER:
Re: that pool scene. Bit of a jump from schoolyard bully to cold-blooded murderer, no? And again they skip over an important story point, namely how she/he (yes, it’s a he) gets in the door. It’s explained in the book, but ignored there.
I don’t know. that quick shot of her nudity looked female to me. I have to look closer the second time. I haven’t the red the book, but plan to, and a lot of what I’ve read about says the orginal source plays up the gender thing. Still, in the film, Eli’s still a female, yes?
Alright. Yeah, forget that last post. Got my answer.
I wasn’t all that jazzed by Let The Right One In (appreciated it more than liked it). BUT, the visuals alone make it worth seeing at least once. Some of the most beautiful, haunting, scenes of violence I have ever seen.
I’m a little confused (more Let the Right One In spoilers) –
I’m pretty sure the ‘crotch shot’ showed that Eli didn’t have genitals at all, right? Did I imagine something?
And ‘namely how she/he gets in the door’
Which door? She wouldn’t have any problem getting into the door of a public place, like the pool building, just private domiciles.
Movieman, did you see the Katzenberg interview on Roger Ebert’s web site. He is MAJORLY jazzed on 3-D. I know I’ll be checking out Monsters vs Aliens and Avatar in 3D for sure.
I was a bit surprised to see such near-unanimous clamouring for Let the Right One In. I saw it at a fest earlier in the year and enjoyed it, but nowhere near the level that people are exhibiting for it. I loved the start and the end, but thought the middle suffered from the tug of “scary horror” and “smart horror”.
KC2.0: Maybe it’s because I’m not into horror films much anymore that I loved it so much. It really is less a horror film and more a coming of age story, I think. More of a drama than a horror film. As has been stated, there is a cold distance to thing that the weather of the pic just enhances and makes more intense. I was thrilled by it, probably because it did so much with so little. I’m over the moon for the film.
Yeah, I gleaned that Ebert piece, Doug.
Only wish I could share their enthusiasm.
Maybe it’s just me, but the whole thing seems to have gotten out of hand…and so quickly.
A non-digital 3-D ‘toon that I enjoyed (much to my surprise) was the relatively unheralded “Despereaux.” I loved how Gary Ross’ witty adaptation so faithfully captures the briliantly imagined fairy tale universe of the source book.
It was refreshing to see an animated film that doesn’t feel like the work of snarky “Harvard Lampoon”/”Simpsons” vets working on too little sleep and way too much Jolt Cola. And if “Despereaux” was a live action movie, it would have bragging rights to one of the year’s best casts.
Sure it would have been interesting to see what Sylvain Chomet might have done with the material (probably played up the occasional grotesquerie), but I liked what the “Flushed Away” guys did just fine.
Next to “Wall-E” and “Kung Fu Panda,” I think it’s one of the three best H’wood ‘toons of 2008.
they need to handle the riddler like gotham’s zodiac killer.
don’t reveal him until into the 3rd act. let his character be a presence without being seen. That way they can really play up the detective angle for batman.
maybe try to set it up so who is cast is kept a secret. (if that’s possible on a movie this big)
the last thing they need is another big scenery chewing performance like the joker.
And you know that’s the performance Murphy would want to deliver.
been there, done that, and they’re not going to top it.
Now philip s hoffman as the penguin.
There’s some fanboy bullshit I can get behind.
******LET THE RIGHT ONE IN SPOILERS*************
Jeffmcm: the telling thing about the “nude shot” is that Eli’s genitals have been cut off or sewn up, but the stitching is not vertical, but horizontal, which makes me assume that she indeed was once a boy when she wasn’t a vampire. I am assuming if she were a female and they were sewed up, it’d be vertical stitching. I think.
***************END SPOILERS******************
The presence of any major star (Seymor Hoffman, Eddie Murphy, Johnny Depp) brings way too much attention to itself, and would be in danger of taking us out of the character and place attention on the actor. Oh look there’s johhny depp being johnny depp being the riddler. Heath worked brilliantly b/c he was a relatively known actor who’s breakout role was a subdued one as a cowboy. Perfect timing. They need to find the right actor at the cusp of his stardom/acting power. I have no idea who that is.
I’m still dreaming of this 3rd movie being based on Miller’s Dark Knight Returns, where we see a middle aged Batman come out of retirement in a police-state. There’s a movie. But who would play Batman? Ten years ago I would have said Clint Eastwood.
I know Bale’s locked, but who do you guys think would be a good grizzled 60 year old Batman?
Tommy Lee Jones, if you can overlook him as Two-Face in the earlier cycle.
“Heath worked brilliantly b/c he was a relatively known actor who’s breakout role was a subdued one as a cowboy. Perfect timing.”
I think you meant to say unknown, but it really helps when the makeup makes you look completely different than how you would normally look.
re: miller’s dark knight returns…i used to say jack palance…now, eastwood or rourke…
******LET THE RIGHT ONE IN SPOILERS*************
The reason I didn’t like the film as much after seeing it a second time was-when they cut to the shot of Eli feasting and looking very old, it’s clearly a dude. It looked like RD Jr in a wig, in fact. It really changed the movie for me. I’m working on a story about it now and will post a link if I ever finish it.
******LET THE RIGHT ONE IN SPOILERS*************
Really, Don? I missed it beign a dude the first time, will check it out when I see it again tonight. I don’t know, now that i know fully that Eli clearly was a boy at one point, that wouldn’t ruin the film for me. If anything, maybe the “male” comes out in here when she kills and/or feeds. Not that big a stretch. I look hard for it. Though, gaffes rarely make me dislike a flick.
I have a suspicion that Nolan, clever dude that he is, was already laying pipe for The Riddler throughout TDK – and it’s the guy that was blackmailing Bruce Wayne. Mr. Reese (‘mysteries’)? I’ll buy it. Failing that, note that David Tenant is leaving Doctor Who after this year, and he would be an awesome choice for the role.
Further Let the Right One In spoilers –
Yeah, Don, I didn’t see that either.
And EOTW, I didn’t see what you saw – and my question re: genitals is, what does that mean for the story? I don’t understand the benefit to the story for Eli having been male decades earlier.
Maybe it’s in the book, which I’ve already ordered. From what I read, the book goes into MUCH greater detail in regards to Eli and her keeper. The book is almost 500 pages long, so obviously, some stuff got left offscreen.
The shot is just how i said (saw the film again tonight), there is nothing there but some horizontal stitching. I have no idea why, but it clearly indicates she was a he at somepoint either before she changed or after. I don’t know. Looking forward to the book to clear that one up.
The “dude side coming out” comment makes sense — the filmmaker does a similar thing with those two (or more) close-ups of the adolescent girl that turn out to be close-ups of an obviously middle-aged woman who resembles an aged, unhealthy version of the girl, instead.
Since this thread has become basically a LET THE RIGHT ONE IN spoiler thread….I’ll bypass the warning…
When I saw the film at Sidewalk Film fest, I loved it and was so taken by it. We all gathered up afterwards and went into deep discussion. When we referred to the quick crotch shot, we were all weirded out…except ONE GUY who said, “Oh, that was a dude who got his penis cut off.” We mocked that guy for a few hours…and then a few days after even. But he was right. Eli’s a duuuude maaaan. I made a special point to look for that scene and any other scenes that show Eli to be male and the crotch scene and the “Aged Eli” scene solidified it. It’s a dude in drag.
The reason this ruined the film for me in some ways is because the film becomes much more nefarious in how manipulative it is. Everyone’s raving about what a great coming of age love story it is and in fact, it’s a film purely about necessity. Eli needs a mortal to take care of her. Her old one wasn’t holding up, she gets an upgrade.
I don’t know, Don. Being a vampire and so old and stuff, I think that she would have to be pretty smart to survive for that long. So, that being said, she could do better than a pasty little 12 yr old boy who seems to be afraid of his own shadow. I think it still works as a coming of age story, no matter the he/she business. We already know that Eli is not the one oming of age, that Oskar needs to grow up a bit.
Actually, for me, the biggest question of the film is why would a 100 or 200 yr old vampire, living as poorly as she seems to, want to stick around so long? In other, more romantic stories of vampires (and they are all mostly of a romantic nature, something this story is refreshingly not), the vampires are sexy, rich, fighting battles, kicking ass and all that while eli is portrayed as almost being sick from her affliction and barely surviving.
Wait though EOTW….it’s INCREDIBLY smart to pick a kid to basically FEED you by killing people and draining their blood for the next 40 years because Oskar is merely showing early signs of becoming a socio/psychopath. She sees in him the want to kill (he’s constantly stabbing things with a knife…..then he wahcks that one prick kid with a pole) and can nurture that by “loving” him.
I mean, add a little teen love to the mix, and you’ve swayed a kid with a bizarre, dysfunctional family and no friends to become your partner for life. Why pick some sloppy, crazed 35 year old with murderous intent when you can get an unmolded, younger model that will last longer?
On the Wikipedia page for the book it confirms what you guys have been saying.
Don, my thoughts while watching the movie – especially towards the end – were that Eli’s character was basically a pathological user anyway, a parasite, so in one sense that all works – and for EOTW, I don’t think there’s much question about ‘why stick around’ – vampires are monsters, after all.
All that said, adding in a gender-swap seems to add an extra layer or two that may not really be necessary for the purposes of the film – maybe it makes more sense, in terms of thematic integration, in the book.
Well, Don, he better grow some pretty quickly. while the keeper in the film was older, stronger and able to get the drop on folks to sling em up and cut their throats, Oskar looks like he’d blow over in a soft summer breeze. Gonne be a hungry gilr before he can get the drop on anyone. Point taken, though.
This is about Let the Right One In, but it’s not spoilery.
EOTW, I can appreciate that definitely, but I think the opening passages gave off the illusion of this movie working really hard towards being a scary horror flick albeit with a twist in that the vampire is a kid. I was intrigued by the work of the father especially. I thought the final scene too worked in that regard. But I think towards the middle – my memory is a bit fuzzy to a precise moment – I felt it lost some of the good will those opening passages worked towards (such as the person seeing the girl feasting under the bridge) for what was, essentially, a standard “coming of age” tale involving bullies.
And, I must say, please never use the words “coming of age” to an Australian movie blogger/writer/etc. Those three words strike fear into the hearts of many an Aussie. Those three diabolical words.
Is anyone else watching Predator right now? So good.
You’re bleeding.
I ain’t got time to bleed.
Ok, you got time to duck?
Awesome.
Fucking McT’s in jail, man. So ridiculous.
SPOILERS>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Let the Right One In is about a two-hundred-year-old vampire that was a boy who had his genitals cut off by the vampire that turned. He trades sex for blood with a pedophile (left off screen but in the book). Then the two-hundred-year-old man seduces a ten-year-old and makes him into her new keeper, which based on the old keeper, is quite the life.
No thanks.
What? If they had kept all that stuff in the movie, it would have made a good movie even better.
Pshaw to you.
Despite those spoilers, I’m still gonna read the book.
I’m gonna read the book as well.
I think the brilliance of the film (aside from some amazing shots and performances) is that if my theory (and jeffs) are true about her merely using Oskar, than the film has made it’s audience INTO Oskar by making them believe that Eli loves him.
Interesting idea, Don, but I never felt there was LOVE up on that screen. Clearly, Oskae is very enamored by Eli, considering that he barely has any affection from anyone in his life. But I don’t feel it’s a love story at all. If some part of the audience thinks that, then it’s all projection on their part, collectively.
Wall E, best picture? Isn’t this where the actors get to say, no way, not again, over my dead body?
Agree, EOTW…but every review (or a good number of them) rave about what a sweet, coming of age love story it is. Like I said above, I think that was the directors intent…
Well, Don, we can’t control what the critics think or how they describe any given film.
Speaking of critics: I note that both Entertainment Weekly critics ranked Speed Racer on their lists of the Worst Films of the Year.
Because I’m sure Cadavra has been waiting on pins and needles:
Thanks for the recommendation, sir. The CREST was indeed awesome (hadn’t been there since “Straight Story”); Really cool, friendly staff and just all-around terrific theater.
And NOTHING BUT THE TRUTH was very, very good; Beckinsale, Farmiga, ALDA, and — somewhat surprisingly — DAVID SCHWIMMER were all excellent; I never thought I’d say this about him ever, but Schwimmer actually kinda OWNED.
Not entirely sure what Dillon and Noah Wyle were after in their somewhat goofy performances, but they were both entertaining.
Lurie’s building up a pretty nice filmography of movies about personal and professional ethics. As in “Deterrence” and “The Contender,” there’s an inherent goofiness in a grittily realistic political drama where Lurie’s wholesale making up presidents and phony Supreme Court justices and wars (kind of like Stone’s made-up football league in “Any Given Sunday.”)
But beyond that, pretty solid.
I was a fan of “Let the Right One In” and (is this even allowed?) “Twilight,” but the best vampire flick of the year was easily HBO and Alan Ball’s lip-smackingly decadent vamp epic “True Blood.”
Can’t wait for season two.
And has anyone else noticed that Anna Paquin has grown up to look (and even sound) like her “Piano” mom Holly Hunter? That’s truly awesome!
tv shows can’t be movies.
though I agree, True Blood is a great show.
An awful lot of TV shows are better than an awful lot of movies;
And if, in the near fuure, they’re all going to be shot on the same HD cameras and viewed on the same home theater system, what’ll be the difference, beyond the serial format?
TRUE BLOOD? Really? God, I watched the pilot when it leaked last summer. Just godawful. It was so badly written, directed, acted, but what can you expect from the network that passed on MAD MEN?
Few movies gave me as much pleasure in 2008 as the second season of “Mad Men” and season one of “True Blood.”
I devoured “Blood” on “In Demand” recently, and it was akin to gorging on a wonderful movie (or book)…for 12 “totally-lost-myself-in-the-experience” episodes.
And nobody can tell me that the production values (and cinematic qualities) of first-rate series like “Men” or “Blood” are inferior to the average Hollywood movie. A good series can actually go deeper (and be a richer experience)–in terms of characterization, the textualizing of place/time/etc.–than most two-hour movies.
“And if, in the near fuure, they’re all going to be shot on the same HD cameras and viewed on the same home theater system, what’ll be the difference, beyond the serial format?”
I still prefer going to the theater.
I like Anna Paquin.
glad to hear some positive things about ‘true blood’, i think scoot had some kind words for it a while back as well. the series airs here next year so i’m looking forward to that. it’s good to hear anna paquin is managing to sustain an international career as one leg of the tripod of consistently working kiwi actors in the US of karl urban, paquin and cliff curtis. acting is a fickle beast, most of the aspiring kiwis don’t manage to fly for long in the big show.
(why is mctiernan incarcerated? as a director he seems to have gone off the boil of late, but he’ll always be a legend in my book by virtue of ‘predator’, ‘die hard’, ‘the hunt for red october’, and ‘nomads’ (i must be the only person on the planet who likes that movie, but anyway))
Cliff Curtis is the Kiwi Alfred Molina.
That guy rules.
Anxious to hear your feedback on “True Blood,” Leahnz.
I only wish you could experience it the same way I did: all 12 first season episodes back to back like a really long, really terrific movie.
Or maybe you should just wait for the dvd boxed set to become available.
And Paquin’s eerie resemblance to the young H. Hunter-physically and vocally–will knock your socks off.
This was discussed quite a ways above but if they decide to reboot again and go with an older Batman, Denzel Washington would be a fantastic bold choice.
I saw the first ten episodes of True Blood on demand when we had a few free days of HBO/Cinemax around Thanksgiving. I can’t say I thought it was actually very good, but it was certainly addictive, and I’m bummed that they didn’t have the last two episodes available for viewing at that time (they literally ran them the exact minute the free days ended).
I don’t see the Paquin/Hunter resemblance (Pacquin has lips, for instance). And I don’t know how accurate Anna’s New Orleans accent is, but Holly’s from Georgia, right?
hey movieman, at this rate we might get ‘true blood’ on dvd before it airs on the telly her (for some inexplicable reason we get US tv series on dvd super quick, i real head-scratcher, that); if so i’ll ‘true blood’ myself into oblivion with a marathon. i’ll have to wait to judge the ‘hunter-esqueness’ of anna p. after viewing ‘true blood’ i guess, but she’s such a talented, down-to-earth, lovely girl, here’s hoping she can carve out a career as interesting as hunter’s at any rate.
‘Cliff Curtis is the Kiwi Alfred Molina.’
i’m not sure why but that struck me funny. cc is rather magnificent
‘on the telly HERE…’ just in case leaving the ‘e’ off made the sentence above nonsensical
I’m no expert on regional dialects, Yancy, but Paquin’s patois (if that’s the proper word for it) sounded vaguely like the way I remember Holly Hunter in, say, “Raising Arizona” (which was my first introduction to her). And the physical resemblance seems even more pronounced, especially after watching all 12 eps back-to-back.
“Addictive”? Hell yes. But also, I think, great pulp television, and a damn sight more satisfying than overpraised turnips like “Lost” (am I the only one who actually preferred the first half of last season–the “Others” part–to the second half? for me this show has gone progressively downhill since its great 2006-07 season-ender that contained the “big reveal”) and “Battlestar Galactica.” And don’t even get me started on the whole “Buffy”/”Angel”/”We-Are-the-ComicCon-Generation-Hear-Us-Roar” thing.
THE WIRE, MAD MEN and THE SHIELD are the most cinematic TV shows ever made (in the USA).
Twin Peaks?
Yes, the hype does make the gorge bulge.
TWIN PEAKS rules them all.
Only the FIRST season of TWIN PEAKS. Show went down fast.
Finally catching up with my 2008 TV backlog:
HBO’s “Generation Kill” is as cinematic as TV gets.
I liked “Jarhead” just fine, but this is the “film” Mendes tried to make and didn’t (couldn’t?)
If “GK” had been a theatrical release, it would have topped my 10 best list.