Monday, March 31, 2008
The basic synopsis of this film is as follows: "A group of students from MIT learn the art of card counting and walk away from Las Vegas with millions of dollars."
I think that basically sums it up if you were to try and come up with a logline to describe the film. It goes a bit deeper than that. Yesterday, I went and saw this movie at The Arclight as is an ongoing treat for myself.
What originally captured my interest in this movie was Kevin Spacey and Las Vegas. Almost any movie involving Las Vegas makes me interested in seeing it. I also think Kevin Spacey is a great actor. There's something about his stage presence, if you will, that keeps him quite interesting and engaging as an actor to watch.
The actor I never heard of, Jim Sturgess, who had top billing was great. I've never seen this kid before and I really think he is going to have quite a thriving acting career. The chemistry between the entire cast was thrilling to watch. Not to mention, it made me want to go to Las Vegas. Kate Bosworth was hot as always. There really wasn't anything about this movie I disliked. This surprises me. It was very entertaining as a whole.
And to think this movie is based on a true story. It makes me want to learn how to count cards. But if there are still casino thugs like the one Lawrence Fishburne played, I'll just fantasize about winning millions.
If I had stars, I'd give it 4 out of 5.
Sunday, March 30, 2008
This is a repost of my friend Anthony's blog on MySpace:
SAG and AFTRA
Current mood: Motivated
To all my actor friends and friends of actors,
This is a long one but it’s incredibly important for actors to read.
Today is an important day. Yesterday AFTRA decided to separate itself from joint negotiations with the Screen Actors Guild on the upcoming TV/Theatrical and Exhibit A contracts, thereby ending our joint bargaining agreement called Phase One.
No matter what you know about or think about the current SAG AFTRA situation, or the failed merger or the various political factions, the time to be informed is now.
Regardless of what mistakes or errors in judgement you may believe either or both of your unions have made, the time to get involved is now.
No matter who you may blame for the current situation, the time to take action is now.
This is nothing less than a war for our future ability to make a living as middle class actors.
I am including Nikki Finke’s article on the subject below for some background. The article is accurate. I was in the board room and I have been a witness to the events of the past year as a Hollywood SAG board member for the past 5 years and as a member of the joint Working and Wages committee. (Interestingly, the group of AFTRA representatives who delivered the message to SAG included only one working actor.)
What can you or should you do?
Please forward this email to every actor or friend of actors you know.
*Tell them that AFTRA is jeopardizing their future ability to make a living as an actor by continually undercutting SAG contract minimums--negotiating cheaper deals with producers.
*Have this conversation as many times with as many actors as you can.
*Talk to each other via email (build your SAG email lists), in audition rooms, at your classes, with your agents (our ability to make a living is directly entwined with theirs), and with your AFTRA leadership.
*Call AFTRA (323) 634-8100 and tell them to get back to Phase One and negotiate jointly with Screen Actors Guild or at the very least stick to the negotiating proposals that were voted up by the joint Working and Wages committee. I can tell you that the negotiating proposals voted up by working actors from both unions are fair and reasonable, approved unanimously by the W&W committee (composed equally of SAG and AFTRA members) and the key to the middle class actor’s future.
The fact that AFTRA has recently followed a policy of undercutting SAG contract minimums is not disputed by AFTRA. I was there when two of their leaders admitted that they had signed contracts with producers for rates lower than the contract minimums negotiated by SAG. Under the Phase 1 agreement neither union is allowed to undercut the other. Put simply--and anyone who has worked on an AFTRA show can attest to this--you make far less in residuals on an AFTRA show than you do on a SAG show. Talk to any cast member from Army Wives, Dirt, Damages, Corey in the House or any other AFTRA-contracted show. They are furious with the terms of their AFTRA contracts.
Due now to AFTRA’s choice to negotiate alone, the danger is that AFTRA will sign on to the formula deal that the Writers were forced to sign after they were shamefully hamstrung by the DGA, who inexcusably played industry patsy and negotiated their deal while their sister union was walking the picket line. Make no mistake. The DGA and WGA deals do no favors for actors. They are apples and oranges when it comes to what actors need to continue making a living, supporting their families, paying their mortgages and surviving as professional actors (not hobbyists).
If we actors are forced to take their deals without serious changes to reflect the needs of actors, then the demise of the acting middle class will be assured.
To continue to make a living as actors, the middle class actor in particular cannot accept the WGA terms. We will effectively be cut out of New Media money as we have been on Home Video and Cable and we will get nothing on DVD--an industry that earned the studios almost 30 billion dollars last year (of which the actors shared 1%). That source of revenue is not going away in the next 3 years I can assure you.
We must ALL now do the work of traditional Union Organizing. That means that we must continue to have this conversation with every actor we can so that we are informed, organized and mobilized as a Union. We need to pay attention to communication from the Guild. We need to answer the call when our Union needs us.
1. Make sure your email address is current with the Screen Actors Guild
2. Check the Sag.org website regularly -- Bookmark it.
3. Attend Members on the Move meetings
4. Join in the Hollywood to the Docks labor march on April 15. It will begin at a rally at the Screen Actors Guild HQ at 5757 Wilshire Blvd. There is a war going on over the entire globe as labor fights to protect its ability to make a living and preserve healthcare and pensions. Stand up with members of other unions. We will need their support as they need ours.
5. Talk to other actors. Get informed and stay informed.
This is where the rubber meets the road.
Are you willing to stand up and defend your chosen careers? Will you show up?
If you don’t, you will lose your ability to make a living as an actor and become waiters, temps, hobbyists, teaching subs, etc. first and actors last instead of the other way around.
It’s time to support the Screen Actors Guild.
Anthony De Santis
Deadline Hollywood Daily
UPDATE: Tonight I received the news that AFTRA national president Roberta Reardon and officers including Susan Boyd Joyce, Denny Delk, Bob Edwards, Matt Kimbrough, Shelby Scott held their national meeting and approved a formal rift with their stepsister actors union SAG. They then went to SAG’s national board meeting and declared that AFTRA won’t negotiate jointly with the Screen Actors Guild on the new primetime TV contract. This, in spite of a long-time agreement by AFTRA to bargain jointly with SAG and not undercut rates. So basically those "make nice" pronouncements of recent days are out the window. And all because of a blown-way-out-proportion incident involving AFTRA, SAG and the soap opera The Bold And The Beautiful. Now AFTRA has taken such an extreme position that not even the AFL-CIO may be able to rein it in.
The AFTRA maneuver is disingenuous, bordering on slightly dishonest, because I’m told the union has known about the B&B incident for weeks and done nothing until this weekend. Then there’s the curious and convenient timing of an obviously planted story in the Los Angeles Times Saturday, designed to give Reardon some protective cover. So it now looks like tonight’s announcement was a carefully planned 11th hour ploy by her to get out of joint bargaining and justify AFTRA’s going it alone. My sources assure me that AFTRA has false concerns because SAG has no interest in organizing daytime. If anything, the concern is justified the other way around because AFTRA is already treading on SAG’s scripted TV turf by repping, for example, both Damage and Dirt.
It was hardly a secret, much less a scoop, that the Emmy-winning star of The Bold And The Beautiful, Susan Flannery, has for some time now circulated a petition to decertify AFTRA as the union representing the actors on the long-running soap. But, suddenly, the LA Times was exaggerating a minor matter whereby SAG’s national executive director Doug Allen was approached by two B&B actors for a meeting.
When the duo launched into a litany of complaints about AFTRA’s representation, witnesses tell me that Allen properly turned them aside and sent them back to AFTRA. But it took the LAT until the 11th paragraph to convey that salient point. And the paper never bothered to mention that these two B&B cast members were also SAG members since there are many dual cardholders.
This is, after all, the very same newspaper that took every side but the WGA’s when the striking writers were pressured by the moguls and the directors. And the same newspaper that ignored the recent AFTRA-SAG blame game when AFTRA was at fault. Yet the LAT on Saturday was breathlessly reporting how "AFTRA officials were upset at SAG for not telling them about the meeting until two weeks after the fact, according to Reardon." Interesting that she timed her public hissy fit to the very weekend when both AFTRA and SAG national boards were meeting on the eve of the two guilds starting joint negotiations on the primetime TV contract.
I’m told from inside AFTRA’s board confab that Reardon "misrepresented the incident to blame Doug Allen for encouraging poaching and raiding even though that’s not the case. Reardon said it was the straw that broke the camel’s back. She’s using this as an excuse because she’s wanted to get out of Phase One for the past year."
Reardon acolytes keep claiming that SAG’s so-called "Membership First" leadership clique is causing all the current trouble with AFTRA. Don’t misunderstand me: there’s plenty of petty nonsense going on inside both camps. But it’s painful to watch the actors guilds battle amongst themselves (or even the actors inside SAG) with that June deadline bearing down. I sense real concern that dual cardholders may not stay loyal in the event of a SAG strike. Which serves to explain why this latest Reardon move looks like an AFTRA ploy to further encroach on SAG’s jurisdiction by offering inferior terms on contracts. While SAG accounts for 100% of motion pictures and about 90+% of television, AFTRA has 3 shows under this primetime TV contract. Now it appears that AFTRA is going to negotiate those on its own, thus continuing the union’s shameful history of pay undercuts and residuals giveaways that have compromised actors for years. Lots of casts are still unhappy with AFTRA’s basic cable deals, so there will be more when AFTRA folds on primetime contract points. Why, it’s a Big Media mogul’s wet dream!
But here’s what Reardon said in a statement Saturday night:
"AFTRA’s primary goal is to improve and protect the working lives of performers. During the past year, AFTRA has fought hard and expended an enormous amount of time, energy and resources to maintain the integrity of our Phase One joint bargaining process with the Screen Actors Guild, so we could sit across the table from the industry with total and unequivocal unity. Unfortunately, SAG leadership has made this impossible. For the past year SAG leadership in Hollywood has engaged in a relentless campaign of disinformation and disparagement, culminating in a recent attempt to decertify a AFTRA daytime soap opera. As a result of this continued and ongoing behavior by SAG leadership, which at its core harms all working performers and the labor movement, we find ourselves unable to have any confidence in their ability to live up to the principles of partnership and union solidarity. AFTRA believes it must devote its full energies to working on behalf of performers, and not wasting time assessing whether our partner is being honest with us. With this in mind, the AFTRA National Board today voted overwhelmingly in favor of suspending Phase One, and negotiating the primetime television contract on our own. We are now prepared to move forward and negotiate a strong contract for our members as soon as possible. This action was taken in the hope that someday, the historic trust between these two organizations can be rebuilt – in the best interests of all performers."
SAG President Alan Rosenberg also released a statement, and sounded pissed:
"We remain focused on negotiating the best terms for actors covered by the TV Theatrical contract. We spent weeks working with our fellow actors in AFTRA on joint proposals to improve the lives of all working actors. AFTRA’s refusal now to bargain together and their last second abandonment of the joint process is calculated, cynical and serves the interests of their institution not its members."
Naturally, the AMPTP chimed in from the sidelines, since the Big Media companies have been watching with glee while AFTRA beats up on SAG:
"On February 14th, just after we concluded our agreement with the writers, we called for our negotiations with actors to begin promptly. Today we are pleased that to learn that AFTRA is also ready to begin talks immediately. We are determined, as we have always been, to work hard and bargain reasonably with the actors’ unions so that we can all avoid another harmful, unnecessary strike."
The next title on my Netflix that was received the other night was Fido. This film came out a few years ago and I remember thinking I wanted to check it out. Of course, it's stay in theaters was limited and I never got around to seeing it.
The basic rundown of this film is it's the 1950s and America has survived the Zombie Wars. Main cities are now surrounded by protective gates to keep out the zombies that exist in the "Wild Zone". A company named Zomcon has come into power and helps keep order by controlling zombies with an electrical collar. Let's say it turns them into a cross between a slave and domesticated pet.
It was an interesting concept and kept me chuckling through the film as I saw references to Lassie. It also conjured thoughts of slavery and living through the 50s propaganda regarding Communism and whatnot. But this movie was not that deep.
It was a comedy. The main zombie, named "Fido" by Timmy was played by Billy Connolly. He's pictured in the poster above. I find that to be cool. He conveyed a lot of things by a simple grunt or look. I wish he had dialogue, though. Carrie Anne Moss played the hot mother. Cuz she's hot and she played a mother. It was like Leave It To Beaver meets Night Of The Living Dead.
Overall, I loved the concept but there were times during the film that I got bored. I think it could've survived being an hour long episode of Masters Of Horror and still gotten the point across. The little boy's acting left something to be desired. I think Dylan Baker is a great actor and he played Timmy's father in this. I felt like there could have been more done for his character. If anyone does not know who he is, I suggest renting Happiness. He plays quite the twisted character in that. If you haven't seeing Happiness, rent it. Great cast, great performances, fucked up movie.
But back to Fido.
If I had stars, I'd give it 3 out of 5. If it didn't keep me consistently chuckling to the concept and camp of it, it'd be 2 1/2 stars. But it kept me chuckling, so 3 it is.
Saturday, March 29, 2008
AFTRA opposes joint talks with SAG
Union withdraws from 27-year Phase One agreement
By DAVE MCNARY
With feature-primetime contract negotiations looming, AFTRA has declared war on SAG and carried through on its threat to negotiate a separate deal with the majors.
SAG announced Saturday afternoon that AFTRA had withdrawn from Phase One joint bargaining.
The unions had been scheduled to give final approval Saturday at a joint board meeting to a contract proposal to the Alliance of Motion Picture and Television Producers. Had that happened, informal talks would have started over the next few days.
Instead, the AMPTP must now decide whether to start negotiations first with AFTRA or SAG. It is likely that the majors would prefer going first with AFTRA, since it covers only three primetime shows under the contract and has been far more moderate than SAG.
The AMPTP responded late Saturday by saying it was pleased that AFTRA is ready to negotiate while not mentioning SAG. And it noted that it had told the actors unions seven weeks ago that it was ready to start negotiations."
The current feature-primetime contract expires June 30.
AFTRA leaders voted at their national board meeting Saturday to dissolve the 27-year Phase One bargaining partnership after multiple disagreements with SAG on jurisdictional issues such as AFTRA offering lower initial terms on basic cable and SAG exploring moving into AFTRA's turf in soap operas.
AFTRA leaders were also perturbed over SAG's attempts over the past year to seek more seats on the joint bargaining committee -- which is split 50-50 even though SAG covers the lions share of work.
Upon conclusion of their national meeting, AFTRA president Roberta Reardon and national officers including Susan Boyd Joyce, Denny Delk, Bob Edwards, Matt Kimbrough and Shelby Scott entered SAG's national board meeting and reported their board's effective termination of Phase One and declared that they will not negotiate jointly with SAG the TV Theatrical contract, including their Exhibit A.
Reardon made the following statement regarding the meeting today: "For the past year SAG leadership in Hollywood has engaged in a relentless campaign of disinformation and disparagement, culminating in a recent attempt to decertify an AFTRA daytime soap opera. As a result of this continued and ongoing behavior by SAG leadership, which at its core harms all working performers and the labor movement, we find ourselves unable to have any confidence in their ability to live up to the principles of partnership and union solidarity."
SAG president Alan Rosenberg said: "We remain focused on negotiating the best terms for actors covered by the TV Theatrical contract. We spent weeks working with our fellow actors in AFTRA on joint proposals to improve the lives of all working actors. AFTRA's refusal now to bargain together and their last second abandonment of the joint process is calculated, cynical and serves the interests of their institution, not its members."
Right from Kenny's blog into mine.
"When you realize that you’re one of the rare few who observe moral principles in their relationships with others, there is a temptation to sink into amorality, not out of conviction or pleasure but simply to avoid further pain, because there is no greater suffering than being an angel in hell, whereas a devil feels at home wherever he goes."
Friday, March 28, 2008
Redheads have more sex than blondes or brunettes
The sex lives of women with red hair are clearly more active than those with other hair color, with more partners and having sex more often than the average.
read more | digg story
I love these guys. No seriously, I love these guys.
I'd probably consider going gay for Stephen Colbert. Being a fellow Jew, I'd save the fiasco that would be; if Mr. Stewart and I ever tried to bump uglies. Emphasis on the word UGLY. Geesh...could you imagine our pasty Jew selves in such a position? And trust me, it would be only one position. Too much of a hassle to schlep ourselves into all sorts of pretzel shapes.
But anyway, you get the point.
I am writing this because this week being Spring Break, both The Colbert Report and The Daily Show are on break. I do not get any new episodes. Maybe it's withdrawals I am experiencing. At least I have "I Am America (And So Can You)" to hold me over. Just a sidenote: they are America's necessities because he says it right there in his book title. If he is America and so can I, then I am America as well. By that logic, if I am America, and both these gentlemen are necessary in my life, then they are my necessities. Jon Stewart and Stephen Colbert are then, by that logic, America's Necessities.
I can't speak for the whole country but it sounds nice, doesn't it? Maybe, though, I'm not that far off by that statement.
This morning, in my daily traffic battling routine to get to work, I was listening to Kevin and Bean on KROQ. For those who may be reading this (who am I kidding?) not from Los Angeles and don't know, KROQ is the main Modern Rock station out here and Kevin and Bean is the morning show.
So they have Darrell Hammond on as a guest who is promoting some stand up shows he is doing in town. They get to discussing with him how SNL is on the upswing now since the writer's strike. Their sketches they did on the Democratic Debate came up in particular. I find it fascinating how these parody sketches actually effected the media's view of the actual race and even more-so themselves. It's bizarre but it's true. How often do you expect to hear a person running for President mention (bitch about) an SNL sketch that made fun of them not that much earlier?
They were talking to Mr. Hammond, who is a genius when it comes to impressions by the way, about his new John McCain impression. Apparently it's very good (big surprise) and sadly I was not able to find the sketch in YouTube, Hulu, or Google Video. The conversation went on a bit on how the sketch comedy show is now contributing to the political race for The White House. They soon ended the interview and broke to commercial leaving me thinking.
Do we really live in a society where the public is more-so swayed by comedy shows such as this as opposed to the big three news organizations, news blogs, newspapers, or whatever other news venue one may choose when referring to current events and politics? Sure, we have a moron in office. Sure American Idol or Britney Spears is mostly top story news on many a news websites. Sure.
I guess the answer to my question is Sure.
That's not that surprising to me. We're a country full of lazy fat slackers. Slackers make up the majority of the demographic for The Daily Show and The Colbert Report. At least that's how Bill O' Reilly feels. But if that is true, and they maintain their ratings and impact the way they do. Then by that logic, SNL's main demographic are generally the same. I am one of those people. I never thought myself to be a slacker. I actually don't slack that much, really. I don't consider the people who watch these shows to be slackers either.
Here's what I consider these people to be. Smart. Why? Because you have to maintain a certain level of intellect and understanding to read between the lines. To get the subtext. To understand how the comedy laden material you are visually and mentally digesting actually relates to the current events happening every damn day. This is why I don't watch the News. I like being treated like I have half a brain.
Americans should be treated this way. At least half a brain. I'm not shooting too high, here. But if the majority started aiming a bit higher and stepping out of their fast food, video game, reality tv ridden lives, then maybe that would branch out to the country as a whole. The sum of it's parts. We the fat people can change this place from the inside out. Start with ourselves. Open our eyes. Stop being the sheep.
Whatever America is, so can you...because we make up the country we live in. All every last one of us.
Thankfully, we have these people here entertaining us. I applaud all who get it, the subtext, the message they are conveying. Hopefully they stay around for a while and continue to impact the bigger picture.
Damn I need more Samurai movies in my life.
Thursday, March 27, 2008
As taken from www.nin.com...
27 March 2008: We are coming!
Lots going on in the world of nine inch nails...
Confirming a very poorly kept secret, the band has been reformed (details coming!) and we are about to embark on an extensive tour. The first wave of dates I can mention at this time appear below. Many more to come!
See you soon.
July 25 Pemberton BC Pemberton Festival
July 26 Seattle WA Key Arena at Seattle Center
July 28 Edmonton ALB Rexall Place
July 29 Calgary ALB Pengrowth Saddledome
July 31 Winnipeg MAN MTS Centre
August 2 Minneapolis MN Target Center
August 5 Toronto ONT Air Canada Centre
August 7 Uncasville CT Mohegan Sun Arena
August 8 Worcester MA DCU Center
August 12 Knoxville TN Knoxville Civic Coliseum
August 13 Duluth GA Gwinnett Arena
August 15 Oklahoma City OK Ford Center
August 16 Houston TX Toyota Center
August 18 Dallas TX American Airlines Center
August 20 Saint Louis MO Scottrade Center
August 22 Cleveland OH Quicken Loans Arena
August 23 Auburn Hills MI Palace of Auburn Hills
August 27 East Rutherford NJ Izod Center
August 29 Philadelphia PA Wachovia Center
August 31 Lexington KY Rupp Arena
September 2 Morrison CO Red Rocks Amphitheater
September 3 Salt Lake City UT The E Center Of West Valley
September 5 Oakland CA Oracle Arena (formerly Oakland Arena)
September 6 Inglewood CA The Forum
posted by Trent Reznor at 2:34 PM pst, from los angeles.
....that give me hope for the Horror movie genre. I'm so utterly sick and tired of the ultra saturated horror porn torture snuff crap that has been the thing to go see in recent years. Fuck Saw. Fuck Hostile. Fuck Touristas.
There should be more original works being greenlit.
Midnight Meat Train
Yes. More movies like these, please.
Sure it's not the best photo but I already had the inclination that Zachary Quinto aka Sylar would be a badass Spock.
If anything, this makes me even more excited about this movie. Now all I need is to see Simon Pegg as Scotty.
Well that...and maybe some new episodes of Heroes. I'm not asking for much, really.
I'm a big coffee fan.
I love the stuff. I find I can't get through my day without at least one cup of that glorious fluid flowing through my veins.
But lately, lately coffee has been on notice for me. Sorry, Mr. Colbert, I'm stealing that phrase.
Coffee, you're On Notice!
Why do I say this?
Well look. I have extensive experience working in coffee retail. I am pretty well versed on the different types of coffee that exist in the world and what goes good with what. I understand the differences in blends, etc. I used to work for Starbucks, The Coffee Bean, and a few other coffee retail establishments.
And just to go off on a tiny tangent, Starbucks is more-so who's on permanent notice with me. I've had quite the disdain for the corporate coffee place since I worked for them. I learned that they double roast (burn) their coffee to make the taste stronger in hopes they will bring in more people to make money. Lo' and behold, the concept worked on the masses. I was apparently in the minority. They have a mild blend that I prefer. It's less burnt tasting and a little known fact, apparently, is the less you roast a coffee bean, the more caffeine content that bean has!
Recently, I've learned that all Starbucks across the country closed for three hours in one day to retrain their employees. I think the bigger concept here is that they started realizing people were heading to McDonalds, 7/11, Ralphs, etc to get their morning coffee since the price was more reasonable and the quality of the beverage was much higher. Yet people still flock to Starbucks for the name and the trend.
Ok, back to what I was saying. Coffee is on notice.
Why? Why am I putting it on notice?
Well dammit, energy drinks used to be on notice. My own personal "On Notice" board exists in my mind. Just go with me here.
I have recently become turned on to this Diet Rockstar drink. Sure, it's not healthy for you. Sure, one may reap slightly better health benefits from coffee since it is in fact derived from the Earth. But hell, lately coffee has been tasting like shit. Every coffee I've had recently has been tasting like dirt. I don't know why. Maybe my taste buds are revolting against me.
But Diet Rockstar, how I now have a budding secret lustful relationship with thee. This damn drink. Tastes like sugar cocaine laced jolly rancher goodness. It has the word "Diet" right in the name so it can't be all bad, right? Not to mention, one can of this lovely liquid evilness picks me right up.
So coffee, it's not you, it's me. I just need some time away.
I'll call you.
Wednesday, March 26, 2008
I received Wristcutters: A Love Story last night as the next title in my Netflix queue. I was actually really excited since this movie was in theaters for like A DAY. Being the Tom Waits fanatic that I am, I wanted to see this when I first saw the trailer. I had to settle for the DVD which is fine.
I thought this movie was quirky and cute given the depressing theme that all of the people in the film were dead. To be more precise, all the characters kill themselves and the film takes place in a Purgatory type situation. They make it look not that much different than life now, except people in this Purgatory cannot smile and go about their "lives" in a way that has a sense of 'what's the point?' about it.
That being said, I enjoyed this film. I mainly wanted to see it for Tom Waits (who has a small but nice role) and Will Arnett. But everyone else held their own. The movie didn't blow me away by any means but it was a delightful spin on the Boy Loses Girl, Boy Tries To Get Girl Back scenario.
If I had stars, I'd give the movie 3 out of 5.
Here's the trailer for the film:
There was a time not too long ago I hated Hated HATED the Electroclash music scene. Mind you, I still find it a bit irritating. I mean I can only listen to music similar to this unoriginal genre like Kraftwerk for so long before I feel like hammering old sharp oyster shells into my cerebral cortex.
But....I'm kinda digging this Miss Kittin song right now.
I said right now....ask me tomorrow and I'll probably start hunting for said oyster death shells to embed into my brain.
I just got back from heading to The Farmer's Market in Santa Monica and happened across a stand for Bezian's Bakery. I was hungry and saw the array of rolls, among the loaves and what have you. So I bought a simple NY Rye roll for $1. The damn roll blew me away. Being Jewish, I've had my share of Rye bread in my life time. This was by far the best Rye bread I have ever had in my life.
I picked up three more rolls. Simply amazing.
Apparently I'm not alone in this opinion.
Tuesday, March 25, 2008
It's probably common knowledge now that these pics of Snake Eyes for the new G.I. Joe movie has been leaked.
Snake Eyes looks awesome. Ray Park is the actor playing him. The name may sound familiar. He also played this guy:
That is some great casting. Some interesting choices.
I cannot wait!
Yes. It's true. Besides the fact that I had a horrible experience working for the man as a measly extra on the box office bomb "The Island", it looks like the man and his production company cannot for the life of them come up with an original idea to save their lives.
What do the following movies have in common?
Friday The Thirteenth
A Nightmare On Elm Street
Besides the fact that they are classic horror films in their own right. It looks like Platinum Dunes, the production company that Michael Bay is linked to, is in the process of lining up these cinematic remakes (besides of course The Hitcher and those Texas Chainsaw Massacres) to be coming out to a theater near you within the next year or two.
Excuse me....I just beat up the keyboard.
Nothing to see here, move along.
Last week, an important Clinton adviser told Jim VandeHei and Mike Allen (also of Politico) that Clinton had no more than a 10 percent chance of getting the nomination. Now, she’s probably down to a 5 percent chance.
read more | digg story
For the first time, I heard the Polyphonic Spree's cover of Nirvana's song Lithium. I was damn near beating my head against the steering wheel on my way to work this morning. What a travesty.
The only thing that makes me smile about this awful cover is the fan made video below.
I recently received The Proposition in the mail from my Netflix list. This Western was released in 2005 and I never got a change to see it in the theaters. I really wanted to when I found out that it was written by Nick Cave. Sadly, I missed it's run in the theaters.
I am a fan of the Western movie genre and this film was quite unique in the fact that it took place in Australia. I've never seen an Australian Western. This movie has a phenomenal cast including Guy Pearce, Ray Winstone, Emily Watson, Danny Huston, and John Hurt.
The film was gritty, bloody, and beautiful to watch. I enjoyed the story and all of the actor's performances. However, I felt it to be quite slow moving. The movie was under 2 hours long and I kept checking the clock. That was the only thing I had against the film. I am aware of the sense of dread, romanticism, and longing that the slow moving elements of the film contributed to. I still had a problem with that.
But besides that, the film was great and well worth my time. I would suggest anyone who likes a good Western or is simply a Nick Cave fan to give this movie a shot. It's definitely not your regular run of the mill Western movie.
If I had Stars, I'd give this movie 4 out of 5.