- Another one bites the dust. My forecasting viewing of Before the Devil Knows You're Dead is now on indefinite hold simply because there is nowhere near me showing it. Now, this isn't quite as bad as the Bug situation since there are actually a couple of cinemas outside of London showing it... but still. They show rubbish like Alien vs. Predator: SludgeFest³ or whatever it's called this time (on that note: what the fuck is Reiko Aylesworth doing in that? She deserves so so much better. Take note, casting agents! I advocate Reiko for future stardom!) but not something with at least a reasonable amount of pedigree like Devil? Of course, the sad fact is that Alien minus Sigourney=No Interest will probably get to number one, but that's just because people, in general, are idiots. But how can they see things if you DON'T SHOW THEM, distributor people? This vitriol is particularly directed towards my favoured cinema in England's second city, which used to be so good at showing more obscure titles but has of late become almost as shit as the rest of the cinemas.- I am fully convinced that Homecoming by Kanye West and Chris Martin is the greatest song ever, despite the fact that I don't really like either artist that much. However, it's really the awesome piano in the song that I adore. I like to tap it out on my leg.
- In other music news, may I celebrate that fact that despite not being released for far longer than any sense decrees, Rihanna's superb single Don't Stop the Music is ALREADY at #6 in the UK charts despite not being released properly (ie. as a CD) for two more weeks. Could she get to number one? I beg of you, UK public. Send her to number one. Again.
- I'm not going to write a review for The Kite Runner because it was so awful and banal that it doesn't deserve one, but suffice to say the more I reflect on it, the more I detest it's backward simplicity, its cliched arcs, its flat visual sense, and the fact that it treats such a hot-button subject with such blunt tactlessness that it is, actually, quite offensive. About the only part of it I could say I had any halfway good feeling towards was the kite flying competition, which was not only irrelevant but also fake! Fake, I tells ya!- I will, however, hopefully be reviewing both The Golden Door and No Country for Old Men, the latter of which already has an entry in processing. But the one of more interest, simply because far fewer people have seen it, is Emanuele Crialese's The Golden Door, which surprised me with its warmth, offbeat sensibilities and tactful, insightful handling of immigration at the turn of the last century- and it also showcased one of 2007's best performances, you may be interested to hear. It's not hard to guess who, but you can if you so wish.
