One of my favourite sites to visit is the BBFC's (British Board of Film Classification, in case you don't recognise the acronym), because it fascinates me to see what ratings upcoming films recieve (and also, it sometimes clues me in to the fact that some films are actually getting released). Now, looking there today, I note two new ratings of interest: 28 Weeks Later, predictably yet excitingly, has got an 18 rating for "strong bloody violence and gore" (yummy); but intriguingly (for "very strong language and strong sex"), so has Hallam Foe, Stale Popcorn favourite Jamie Bell's new film (with the gorgeous Sophia Myles). I didn't know much about Foe, to be honest, but looking it up shows me that perhaps I shouldn't be so surprised: its director, David Mackensie, was the helmer behind the explicit (and rather dull) Young Adam, and, well, Foe IS about voyeurism. And not Rear Window-style. (Oh, and what an awesome poster! Jamie Bell looks really creepy.) Now that I am actually 18 (well, almost 19), these ratings are all irrelevant to yours truly, and yet it's always interesting when one appears, because they're notably rare. I mean, 300, one of the most violent movies of recent years (for all its stylization) was a 15, for cripes sake! So I do often wonder what consitutes an 18. Luckily, the 18 doesn't carry the stigma that the NC-17 does in the US- it just means that if you're not 18, you can't see it (well, theoretically).
Now, Miss Lindsay Lohan is subject of a piece on IMDb's news page today: "I Am a Serious Actress & New Film Will Prove It". This is both good and bad. On the positive side, it shows us that Lindsay is serious about her career and means to commit herself to it. On the negative side, the article features a bit too much of Lindsay's hunger to win an Oscar- because, as we all know, winning an Oscar requires taking "serious" roles. Said "New Film", I Know Who Killed Me, apparently features Lindsay as a torture victim who loses both her legs- which clearly means that she'll be in a great deal of suffering and pain. No smiles. But, as we've learnt, smiles are what Lindsay does best- has she forgotten Freaky Friday and The Parent Trap? No, Lindsay's career hasn't exactly been stellar (the horror of Just My Luck is still present in my head), and while she is perfectly capable of dramatic scenes (she was solid in Bobby), I don't understand why she feels that she must go down this route. Enjoy your career, Lindsay, don't chase something so boringly.
This week will be a mega one for movies: Saturday sees me finally seeing two films I've been chasing for a long time (almost two years in one case) in the form of Joan Allen's long delayed vehicle The Upside of Anger (see here, and here) as well as Amadeus director Milos Forman's Goya's Ghosts starring Natalie Portman (what a horrid poster. It looks like something I could have made on Photoshop in about three minutes). And then on Sunday, it's the big one: the family will be heading out for an afternoon showing of Spider-Man 3, which, despite the rather iffy reviews, I have high hopes for, given how much I enjoyed the last one. And from Monday to Thursday next week, the university arthouse cinema is trying to derail my revision by throwing me the enormous total of four different films to see: Curse of the Golden Flower, the re-release of Luis Bunuel's Belle de jour (Catherine Deneuve!), lenghty monastery documentary Into Great Silence, and Oscar-nominee After the Wedding. But where did all the money go?