A little bit like To's Breaking News, or I am insane.

That's not Jean-Pierre Leaud?

You would be foolish to pick survival over death in The Hunger Games. Death seems quick and painless. Meanwhile, a little burn on a leg seems eternally more painful and life-threatening.

The incredible, breathtaking and visceral plane crash sequence sets up perfectly well what you're in store for. After having gone through that, you desperately want them to survive. It makes me want to check out his earlier films as well as to re-evaluate The A-Team, which what I thought was unbearable.

The Artist is a silent film manufactured with modern sensibilities and technicalities from framing to camerawork (over-the-shoulder shots for instance). It is almost condescending to silent films, because of how it treats silence as a gimmick (Speak? why won't you speak?) and sound as something hip, relevant and most importantly, normal. Also, the lead actor contradicts everything he used to stand for later on.

It's a very good film in which I echo a lot of the director's sentiments, but I still don't understand what Amir's idea of pure cinema is. Great films? Old films? Art films? Personal films? Cinema is cinema. That's that.

Payne's "Local Hero"

Ozu, Bresson, Tati, De Sica, and Melville would appreciate Kaurismaki's loving homages. Flike, I mean Laike was an adorable cat.

The unnecessary use of flashbacks in the film doesn't compliment the story or does it help the state of paranoia she's in; if anything, they ruin the rhythmic flow of the film. I'm afraid the flashback device is starting to become the definitive modern day American pseudo-indie cliche. Wouldn't it have been more effective if the film stuck with one or the other? Too much explanation why she is who she is.

An amazing supporting work by Ryan Reynolds. He's never been better.

It's interesting at parts, but I couldn't get over the fact how selfish the woman character was in the film. She didn't seem so sad, dull, isolated, depressed, etc, yet she cheats on her boyfriend who's in London for his work. There isn't a moment she feels bad for what she;s doing. She seems like having the best time of her life.

It works best as a genre exercise a la The Driver, but it's when violence hits the movie fails. I saw the Taxi Driver parallel, like Travis Bickle, Gosling's character has that violence under the surface, you know it's going to happen, but Refn's execution is almost too cool for its own sake. The fact that it's emotionally distant and hollow makes it worse that the violence happens the way it happens. Almost cheap.

A nostalgic director of the highest order.

Hysterical. Unbelievably far-fetched. Brother-Father for the win.

This is like a Cassavetes film... Nick Cassavetes that is.