So, let’s just take a breather for a minute. The papers are written, the conversations have all been had, and the cookies and milk have been laid out on the table by the chimney. I’m wearing my Santa nightcap, because it’s quite warm and has a fuzzy, dangly ball at the end that I can bat at and play with if I get bored with my current preoccupation.
Okay. Now that’s done with. Let’s get down to brass tacks. Tomorrow’s Christmas morning – and, I’m excited to beat the band. I mean, who isn’t, right? It’s CHRISTMAS, man! I don’t think there’s a one among us who still doesn’t get a slight twinge of excitement, however slight it may be, at seeing the snow outside – and, here in Texas, that’s a rare thing, making it doubly wonderful, even though it’s pretty well assured that it won’t stick – turning the grasses into a dun-white sheet. And, your breath creaks and hangs in the air as your cheeks grow redder and redder. Gooood stuff.
In the next couple of days, you’ll be seeing up here, among a few other things, hopefully a new review by resident writer Grouchy87 of Michele Soavi’s 1994 Scorsese-favorite Dellamore Dellamorte (Cemetery Man), as well as reviews – by your’n truly – of Eiichiro Hasumi’s recently released Oppai Volleyball, Peter Weir’s Master and Commander: The Far Side of the World, and Jonathan Glazer’s Birth, a neo-Kubrickian piece of ominously unnerving psycho-drama that’s been appearing on more than a few ‘best of the decade’ lists. And, maybe some other stuff, too – a first-time DVD review, could be. That kind of thing.
And, now – those outward-going links.
Dan Schneider – now, here’s a fellow internet armchair film critic whose stuff just has to be read to be believed. Popularized recently by Roger Ebert, witness as he tells known playrights, congresswomen, naturalists and other people of note, “you should be thanking me; I mean, I’m doing you a favor. Nobody reads your stuff. My website is, by contrast, one of the most important on the Internet.” No, really.
The Film Doctor gives a pretty succinct summation on my problems in general with Disney’s latest hand-drawn feature, The Princess and The Frog.
Fellow Match-Cutter and RT moderator Alex Weitzman gives a wonderful rundown of what it is in Kevin Smith’s films that works so well, and that often goes unstated by both critics and fans alike – which you can find here, in his succession of essays at the forum, “An Examination of the Themes of Kevin Smith’s Films.”
Annalee Newitz of Io9 just has to wonder, “When Will White People Stop Making Movies Like ‘Avatar?‘” And, you know what?
Readers, have a merry Christmas – and, you know I mean that.