There must be something horribly wrong with me because Johnny Depp leaves me cold.  Sure, if he snuck into my bedroom begging for some Laura lovin’, I wouldn’t tell him to take a hike.  But here he is, People’s Sexiest Man Alive again and I’m like, “whatev.”

I never agree with People’s choices around beauty and sexiness.  Pierce Brosnan?  Frat Boy Affleck?  Two-time winner Brad Pitt’s another hunk about whom I’ve always been lukewarm.  I agree with former Sexiest Men Denzel and Clooney, and consider JFK, Jr. as one of the sexiest men who ever lived.  But the rest of their choices…yawn.

So what better thing to do on a cold Sunday afternoon than sit around deciding who the sexiest men in the world are.  Here’s my list. 

Edward Norton – He’s scrawny and has a receding chin, but Edward truly deserves the clichéd “best actor of his generation” title.  Ol’ Ed must have somethin’ in the sexiness department considering he scored babes Rosario Dawson in 25^th Hour and Salma Hayek in real life.  Anyone who can make a neo-Nazi hot definitely deserves to be on some list.

 Barack Obama – Nobel Prize winner.  Devoted family man.  Coolest American president who ever lived.  Obama is the epitome of sexiness.  Now, if he can just pass health care.

David Letterman – Yep.  Dave.  When I was in high school, I had a major crush on him.  He doesn’t have much in the looks department but the dry, quirky, somewhat mean-spirited wit adds more to his appeal than a pretty face ever could.  Plus, you can see in the way he flirts with female guests and fawns over Julia Roberts’ mouth there’s a love monster within the geek’s body.  This latest scandal only proves my point.

Javier Bardem – I saw him a couple times in Madrid and he came off as one of those “serious” actors who think smelling bad is a sign of artistic depth, and thus, doesn’t bathe.  Still, Javier’s intensity is the stuff of dirty dreams.  His fights with Penelope Cruz in Vicky Cristina Barcelona made you believe co-dependent, mentally mind-fucking romances are the way to go.  Even with that weird Coen brothers haircut in No Country for Old Men, Javier’s the bee’s knees.

This Guy Who Rides My Bus – I really need to get over my attraction to tattooed, messily gorgeous meatheads who chain smoke and work in sandwich shops.  The one who rides my bus every morning was recently reading a Dummies guide on raising ferrets.  Upgrade, Laura, upgrade.    

Ewan McGregor – He wears makeup and skirts, sings in musicals and shows his butt all the time in films.  Ewan is the cute, wacky class clown who just happens to be easy on the peepers.  While his sexier peers have fallen off the cultural radar (Jude Law anyone?) Ewan keeps showing up and giving his all in decent flicks.  He ought to instruct his friend Jude on the finer points of career longevity and how not to shag nannies. 

Djimon Hounsou – Remember how great Janet Jackson looked in her black-and-white music video, “Love Will Never Do Without You?”  I don’t because I was too busy staring at Djimon Hounsou.  He’s one of those lucky bastards who gets to look incredible and have talent.  Then he had to ruin it and marry that Kimora Simmons witch.  Wait a minute, why do I know such things?

Lenny Kravitz – When I lived in New York, a friend of a friend was subletting an apartment in Soho.  Lenny Kravitz supposedly lived across the street.  For a time, five of my girlfriends and I were seriously considering taking on several jobs and living in the cramped place together just to see Lenny walk by the window in his Calvins.  Though he hasn’t made an interesting album in a decade and his lyrics are kinda dumb (“my mama said that your life is a gift/my mama said there’s much weight you will lift”), not much more comes to mind when looking at that face than sex. 

Don Draper – A handsome as hell, emotionally remote, psychologically tortured cad who can’t keep it in his pants?  What a dreamboat!  I refuse to read articles or watch interviews of Jon Hamm, the actor who plays him, because I have a feeling he’s actually a likeable and even shy person.  I prefer scumbags like Draper.

Freddie Ljunberg – He’s a Swedish football player.  He did ads for Calvin Klein underwear.  If there’s any confusion as to why he’s the sexiest man alive, please refer to the southern portion of the aforementioned ad.

Pride and Glory è un film poliziesco del 2008, diretto da Gavin O’Connor. Gli interpreti sono Edward Norton, Colin Farrell, Jon Voight e Noah Emmerich.

Leggi altre notizie su: | Gavin O’Connor | Edward Norton | Colin Farrell | Jon Voight | Noah Emmerich

One of my favorite films of the new millennium, Kingdom of Heaven is an under-appreciated classic, a treasure of a film that was shunned in many circles at the time of its release because of its incongruity and certain character flaws. It faded quickly into the realms of the forgotten, but I always held a flame aloft for the historical epic. I admitted to most of the flaws, albeit begrudgingly, but I still had a weird attraction to it, and until about a year ago, I couldn’t really explain it. Now, before about a year ago, I would have bowed to conventional wisdom that if I could not put my pro-KoH argument in words, than it obviously was not that good of an argument. But, last April or so, I discovered the reason that the movie seemed so off to me, and the source of a lot of anti-KoH arguments, is that the studio edited almost an HOUR out of the theatrical cut! AN HOUR! That’s a lot of info to leave out! Now, with a lot more backing this time compared to March of last year, I can safely say that Kingdom of Heaven IS a good movie, a great movie even. It’s not a perfect movie, but it skirts very flirtatiously with immortality, something I admire in a work of art.

We’re taken to the 12th century, between the Second and Third Crusades. Balian, a lonely blacksmith in France, grieving over the suicide of his wife, finds no solace in his work or his life doomed to obscurity. As fate would have it, however, a knight traveling through the area pops into his life. He claims to be his father, and offers him a choice; he can stay in the sad, empty husk of France during the Middle Ages and continue his life as if nothing had happened, or he can come with him to Jerusalem, where the knight holds court with King Baldwin IV. At first hesitant, Balian joins the group of Crusaders after hearing that perhaps his wife’s soul can be saved from Hell if he absolves her sins in the Holy Land (people believed that suicides were instant fodder for Hell back then, although some STILL do). Thus begins a journey of the self through the world of the Dark Ages as Balian travels from his tiny, myopic Medieval world all the way to the center of the world’s tumult, Jerusalem, where a new dispute is broiling beneath the surface of the Second Crusade’s short-lived peace. King Baldwin IV is dying painfully from his crippling leprosy, the Knights Templar are restlessly itching for a battle with the Muslims, their sworn enemy, and on the other side of the wall, a new Muslim assault is being only barely kept at bay by the efforts of their sultan, Saladin. The truce will not last much longer, and Balian’s part in this is larger than he yet knows. It will be a long, unforgiving road ahead for him, but with his wife’s eternal soul in the balance, he is willing to do anything to unchain her from the fiery pits below.

Let me start with the big flaw before I start gushing. Before it gets any farther, I have to comment on the fact that Balian is a total Harry Stu. In internet lingo, for those not in on the jive, that means that his character is just a LITTLE too perfect. He just happens to know a lot of things about a lot of things that would be helpful in the Holy Land, including the construction of siege engines, leading large groups of men, and considering he’s played by Orlando Bloom, professional heart-throb, he looks damn good while he does it. It all gets to be a little much sometimes, and by the end, I felt more than a little tinge of disgust for him and his implausible perfection. You know how awesome and perfect Balian is? During a boat trip to Jerusalem, his boat capsizes and sinks in a storm; he wakes up the next morning on the beach with no fellow survivors and a saddled horse ready to give him a lift! How serendipitous!

But when I say that that’s really the only thing I think is wrong with it, I mean it. Director Ridley Scott is so good he can make any subject come alive, and it just so happens that he also found one of my favorite historical periods fascinating. Every detail, with the exception of ultra-perfect Balian, is down to the T. Scott has recreated the Middle Ages with such a realism that they speak to us through the ages in the very subtext of his work. From the weaponry, the architecture, the interactions between people, to even the battle formations and times of day that Muslims and Christians fought during the 12th century, this is all genuine. there are so many stories to be told here, during the reconstruction of Europe from its massive, tragic downfall in the 6th century, I’m so glad someone used this period. And not only that, but I really appreciate the use of the different faiths fighting it out as sort of an allegory for today. It’s the same fight going on with different weapons and words, which Scott cleverly alludes to at one point, making the emotional ties to this ancient era all the more indelible.

The main cast is equally proportionate to the supporting cast here. Liam Neeson, Brendan Gleeson, Michael Sheen, David Thewlis, and other power players make short but memorable appearances that resonate throughout the movie. My favorite of these is Ghassan Massoud, who plays Saladin. While we never see hm that often, his character is similar to Baldwin in that he doesn’t want war, but political and religious pressures are pushing him into a battle that will cost many, many lives. He is excellent, and most importantly he’s a Muslim character that doesn’t give way into stereotypes that so many other films would have. As for the main cast, I’ve said my peace on Balian, but it must be noted that not everyone’s like that. There are some real winners, like Eva Green, who plays Sibylla, Baldwin’s sister. Her scenes suffer the most cutting, and it felt so vindicating to see the Special Director’s Cut edition and piece together what happens to her. She is a force to be reckoned with for me, especially now that the cut has been restored. She is given whole new sets of scenes that add to the emotional complexities, especially the ones involving her son. Without these scenes, her character is very confusing and inconsistent, and it is a definite boon to the film that she not go from one emotional state to the next without any coercing. Jeremy Irons electrifies as Tiberius, the Marshall of Jerusalem and Balian’s moral compass in the Holy Land. His scenes are few, but they are key, and Irons shows his expertise in authoritative but sympathetic words of wisdom as he tries to keep Christian Jerusalem from going into all-out war with the Muslims and Balian from falling off the righteous path. Edward Norton is the emotional heart of the first half of the film as King Baldwin IV. Underneath a silver mask to hide the hideous deformities left by his leprosy, he is trying extremely hard to keep peace in his time by keeping both the Templars at bay and his court satisfied with the truce. But his frail condition has many worried that the Muslims will attack and he will be unable to lead, or, worse, that he is lying down and making too many concessions to their heathen demands. He has so much weight on his slender shoulders, and watching Norton valiantly struggle to keep lives from being lost is heartbreaking and wondrously inspiring.

Sweeping cinematography, an immersive score by Harry-Gregson Williams, an extremely able cast, and a rich realistic tone make Kingdom of Heaven a sweeping film that should be remembered with the ranks of Spartacus and Gladiator in the realm of great historical epics. It’s a whopping three hours for the director’s cut, the only cut there should be, as far as I’m concerned, so there’s a lot going on. Luckily, it’s all great, and with the exception of one or two faults, I would be extremely tempted to call this a perfect film. To get swept away in this historical fervor is a joy and a pleasure that I plan to relish more and more often. Ridley Scott strikes gold again, and the Holy Land is done justice by his beautiful eye and his great cast. I give Kingdom of Heaven 9 1/2 leper kings out of 10. A high recommendation!

Tomorrow’s Sunday, so I don’t know what I’ll watch! It’ll make for a good review, though, I think! Until then!

VERDICT:
9/10 Lead Salads

Not quite David Fincher’s best movie, but still, it’s freakin’ Fight Club. This here movie kicks a fine amount of ass.

Fight Club is about a humdrum guy whose humdrum life gets turned upside down after being seated next to one Tyler Durden on an otherwise humdrum flight for his humdrum job. Humdrum. Anyway, after his apartment accidentally blows up, he moves in with Tyler, they become quick pals, and then they form Fight Club after a night of heavy drinking – a nice little place for them and their fans to beat the living shit out of each other. So Fight Club gets really popular, it gives new meaning to this guy’s life, it also eventually turns into an even wackier little shindig called Project Mayhem, and then shit really gets crazy.

Point is, there aren’t too many movies out there like Fight Club.

I know I’m a bit behind the ball on this one what with last week being the tenth anniversary of this family favorite, but hey, glad to finally have an excuse to review this.

So, why does this movie kicks so much ass? Let’s start with director David Fincher.

Like I said, this isn’t his best movie – a well-earned title still held by Se7en – but it’s a close runner-up. The thing I like most about this guy is that not only is a really good storyteller and continually churns out one original, gritty movie after another, but, man, does he know how to use lighting to his advantage. This is one of those things you have to see for yourself to really get, and this isn’t really a characteristic that I’m prone to point out in movies, but the entire movie looks like it was filmed in a damp basement, and that is awesome. There’s stark contrasts between light and dark all around, it’s got this “Finchian” (Copyrighted 2009, Cut The Crap Industries) blend of sleek and dirty from the shiny glint of city buildings to the bloodied face of a maimed everyman, and everything about the way this sharp, grimy movie looks totally complements the dark story it’s telling.

Look, when you see a David Fincher movie, you know it’s a David Fincher movie. Not to belabor the point, but I’ve said it before and I’ll say it again, the dude is one of the best working directors out there today and he sure knows how to make a movie look good.

And hey, guess what, there’s a solid little cast here, too! Well I’ll be!

I’ve always been a big fan of Edward Norton, and while this isn’t the best thing he’s ever done either, he still plays a really good protagonist as our humdrum anti-hero, Cornelius. He probably would have been more memorable if it weren’t for Brad Pitt and his eight-pack abs as Tyler Durden. I’m slowly coming over to the mindset that Brad’s actually a good actor after his turn Inglourious Basterds recently, and even though there’s a whole lot of eye candy going on with him in this movie, the fact of the matter is that Tyler Durden is one hell of a character. Most of the credit is probably due to the script in this case, but still, hard to knock Brad this time around.

Helena Bonham Carter is also in it as Ed Norton’s main squeeze, Marla, and boy howdy is she creepy as hell. 

And Meat Loaf is in it, too, and he’s good, and not just because his name’s freakin’ Meat Loaf.

It’s not often that adaptations end up being better than the source material, but after trucking through Chuck Palahniuk’s novel a couple years ago, I’m still sold on Fincher’s take. Still not really sure if there’s a moral to the madness, but whatever, Fight Club is one wild ride that’ll have you hooked right from the opening shot. Lots of memorable scenes, has one awesome twist going for it, a real biting sense of humor that just adds to an already terribly well-written script, and even though it might be a little too gnarly for some, it’s pretty darn rewarding for all you postmodern fanboys out there.

Great script, great director, people making soap and punching out Jared Leto. Sounds like a winner, alright.

Yes he did….

Here Norton related how he met the President thru a charitable group in 2006…..when he pitched the idea to the young senator, he had no idea how it would come out…..

Edward Norton and Barack Obama both made out okay……

Paul Mason is a professor in the UK who has systematically studied prison in cinema.  He wrote a paper called Prison Decayed: Cinematic Penal Discourse and Populism 1995-2005.  Here’s a bit from the abstract:

This paper suggests that discourses around the futility and inhumanity of incarceration are scant, replaced by scenes of prison violence; rape and death appear, which appear to exist purely for the pleasure of the spectator [my italics]: a generic feature of the prison film. Secondly, prisoners are largely constructed as an inhuman other: a danger to society and deserving of harsh punishment. Consequently, the discursive regime of prison in cinema over the past decade constructs prison as not only necessary, but as the only process for crime control and reduction.

Ok, that sounds like a pretty compelling thesis to me.  But as a member of the audience, I’m worried that kind of thinking will destroy my relationship with movies.  I think it’s already happened to Mr. Mason.

Take Mason’s interpretation of 25th Hour.  Nominally this is a movie about Monty’s last day of freedom before going to prison.   Monty, played by Edward Norton, does not really want to go to there.  He’d prefer to hang with his lovely girlfriend in his lovely Manhattan apartment.  So he spends most of his time moping around confused and angry.  He spends about 30 seconds expressing his fear of being raped and mutilated in prison.

“…Somebody takes a pipe out from under a mattress, starts beating me in the face, not to hurt me, just to knock all my teeth out so I can give him head all out and they don’t have to worry about me biting..”

It’s a vivid speech, but in the context of the film it’s a blip, and not even all that shocking. Mason seizes on it to reiterate his thought:

Without showing any of this, 25th Hour contributes to the discourse of prison constructed in previous cinematic narratives, where jail is synonymous with sexual assault and interpersonal violence. These initial scenes, and in the case of 25th Hour the entire film, help to fix the meaning of imprisonment, to frame the discourse of incarceration, as cruel and sadistic. However, while such scenes could form part of a critique of prison as a criminal justice sanction the vindictiveness and pointlessness of custody the dominant discourse remains entrenched in the violence itself rather than in denunciation of it.

The thing is, Mason is reading this film all wrong.  Sure it reads like it’s about going to prison.  And if you only had the script you might think that was the point.  If you look at what’s on screen, and when, it’s pretty obvious that this film is an homage to the people of New York City.  Specifically, New York City post 9/11.

Spike Lee was the first filmmaker to put this image onscreen in the raw year of 2002

Still an open wound.

I mean, it strikes me as negligent that someone would suggest Spike Lee doesn’t know anything about prison.  Spike Lee!  You know man, Do the Right Thing, Jungle Fever, Bamboozled, Malcom X, When the Levees Broke.  You know Spike Lee, and so does Mr. Mason.  Just because he puts a frightened white guy on screen and

Monty’s nervousness about going to prison might as well be nervousness about getting kicked off the Basketball team.  It’s a vehicle for reflecting on a very unique moment.  There’s this, I guess a montage, where Monty says “fuck you” to every single ethnic group and class in New York.  And when his tirade is over, I feel like, well, he loves these people and so does Spike Lee.

Anyhow, I’m just saying I don’t want to miss the forest for the trees.

I need a break from discussing politics, health care, right vs. left, Sarah Palin; I want some comfort entertainment. If I want heavy, I’ll watch one of those high-brow movies Marilyn forces me to watch; if I want serious, I’ll read a book (so there, Kaarin); if I want something spiritual, I’ll listen to music; but when I want to travel far down that low road – and I do sometimes – I have TV. Although there are some seriously good TV shows that I watch (from Public TV specials to well-written dramas and sharp comedies), there’s no better diversion for me than frothy, salacious, superficial television. Whether it’s “Snapped” an Oxygen series about women who kill their husbands (I’ve managed to stay alive this long thanks to what I’ve learned from this series), or “Rock of Love,” which has absolutely no redeeming qualities, I simply love bad TV. Sometimes bad TV turns out to have redemptive qualities like “Tool Academy,” “From G’s to Gents” or “Charm School,” and sometimes good TV turns to junk: cable news — but it is always entertaining. So here’s a diversion for me, what I’m loving on TV right now.

1) Sue Sylvester/”Glee”: Jane Lynch, who I’ve loved forever, especially with her work with Christopher Guest (“Best in Show”), has the role of a lifetime in “Glee.” The show itself has its ups and downs for me — I thought it was brilliant at the beginning of the season, but this mistaken-identity-baby-daddy arc is not fun to watch. (Although Quinn is.) What is fun to watch are the production numbers when they’re hip and joyous (not Broadway-y and predictable); the actors, all without exception; and, most of all, big meany Sue Sylvester, the bulldog cheerleading coach who does not have an “off” button. She is fed, arguably, the best lines on TV, and she is so savoring her role, it drips all over the screen. She is, not arguably, the best character on TV.

2) “Curb”/”Seinfeld” Reunion: Finally, the reunion! Not only was the penultimate show of the season the best of both series, it was a nice homecoming for those of us who loved “Seinfeld.” You might have forgotten how likable Jerry was (I did) and he’s terrific in these “Curb” episodes. The minute you see his puppy dog face, it’s like welcoming an old friend back. The back and forth between him and Larry David is extraordinary to watch, and the insight into a “Seinfeld” table read is perfect TV. Add to that the typically-”Curb” story line about little Emma and her rash (remind me to change my daughter’s name) and little gems like addressing Michael Richard’s past racial troubles, and you end up with one of the most satisfying 36 minutes of television this season.  Even if Susie Essman was not in the episode.

The real star of the "Table Reading" episode?

3) “Tabatha’s Salon”: OK, call me gay, whatever, but “Tabatha’s Salon Takeover” is one of the most enjoyable reality shows on TV (and I watch them all, and I mean all). Much of that has a lot to do with the abrasive, but understandably confident hair stylist Tabatha Coffey (who, herself, was a reality show winner on “Shear Genius”). With her defiantly short, chopped platinum hair, seductive English accent, take-charge ultra-hip black outfits and take-no-prisoners attitude, she visits failing salons and gives them a turnaround.

The format’s great, especially the undercover surveillance cameras, the heavy-hands-on observation of the hairdressers at work, the destroying of dreams and careers, and the filth she finds when she first examines the salon, often wiping up chunks of disgusting hair and other foul refuse (only once did she cry, “I want my Mommy.”). The final assessment to the owner is especially fun, because it often involves firing someone who has most likely called her a bitch during the course of the show. The hour flies by, and it has as much to do with running a small business (Take that, “Shark Tank”) as it does with hairdressing (Take that, inane “Shear Genius”).  And there’s so much drama. If you think I’m gay for watching this, you should see some of the hairdressers!  Tabatha’s one of reality TV’s best host/stars, and the show is absorbing. Like a good conditioner.

4.  “Modern Family”: I have to say, I laugh out loud at this show more than any other. The acting is so top-notch and the funny characters are so filled-out by those great actors. The premise is simple. Here’s a modern American family, including a clueless dad, annoying teenage daughter, hapless mom, and a gay couple that happily gives in to stereotypes, but is still funny. There’s the hot Colombian second, and younger wife (Sofia Vergara)

Sofia Vergara, Ed O'Neill's hot, younger, second wife on "Modern Family."

and her way-too-mature pre-teen son, Manny, (played like a pro by 11-year-old Rico Rodriguez), who just about steals the show.

Modern Famiy's scene stealer, Rico Rodriguez, as the precocious Manny.

Just about, because Ed O’Neill (You know, Al Bundy) is so amazing in this show as the gruff, yet tender grandfather (and husband of the hot second, younger wife and reluctant stepfather to the precocious Manny). But it’s the tangents in which the show goes off that makes this a stand-out. Just this week they paid tribute to Both Spandau Ballet (Edward Norton in a funny turn as Izzy LaFontaine, bassist for Spandau Ballet) and Orchestral Manoeuvres in the Dark . You’ll never be able to listen to SB’s “True” again with a straight face. ” That is, if you we you were ever able to in the first place.

5.  “Parks and Recreation”: OK, I lied. The out-loud laughs record is not held by “Modern Family,” but rather by the very smart and funny P&R. Amy Poehler   and a brilliant ensemble cast (Rashida Jones and Chris Pratt, especially) romp through some very smart dialogue and topics, some never before seen on the always predictable and rehashed world of sitcoms. While “P&R” started off as an “uh-oh, where’s this going?” rip-off of “The Office,” it has matched that show (this past week’s “Office” with its Southern murder mystery parlor game was that series at its best). There are many smart (dare I even say “intellectual”) references sprinkled throughout the show, and the uber talented Poehler has a field day building her lovable character, Leslie Knope, as deputy head of a yokel Midwest parks department. She a larger aspirations.  This mockumentary always lets on that she’s smarter than we think, but if you begin to take her too seriously, she’ll do something so goofy, you’ll fall in love with her again and again. If you saw last season, and were disappointed with the first few episodes, do yourself a favor and watch again. If Amy Poehler doesn’t win an Emmy, the gig is rigged. I heart Leslie Knope.  As much as I heart Liz Lemon and the wildly crazy, funny and uneven “30 Rock.” Alright, I heart Tracey Jordan/Morgan, too.

Yes, I heart Tracey Morgan...Jordan.

6. “So You Think You Can Dance”: Best talent competition on TV, and certainly the best dance competition (yes, I even watched “Dance Your Ass Off!”). Forget the amazing, sometimes stunning dancing (hello, Legacy   ), and the totally sexy and extremely likable host, Cat Deely,   this show has turned me on to better music than “American Idol”: Mirah’s “The Garden”, Roison Murphy’s “Ramalama (Bang Bang), and most recently George Baker Selection’s “Little Green Bag.” The dancing…it’s sick, as judge Adam Shankman would say. (Where’s Mia Michaels this year? Boo.)  Did I mention that I hate dance? But I love SYTYCD. My money’s on Jakob, Legacy, Russell to all tie in the end.

7.  “The Good Wife”: Biggest surprise of this season. I had no idea what this show would be like. And it turns out it’s one of those lawyer shows. But with a million twists and the really, really good and riveting Julianna Margulies guiding it along like a laser.  Hands down, best new drama of 2009.

8. “Chopped”: Love this cooking show where four cheftestants have to make three courses out of unlikely ingredients. Yeah, yeah, I love every cooking show (especially any one that features Padma Lakshmi   ), and the new “Chef Academy” seems to have the winning ingredient of all these reality shows: a good cast of characters. Oh, and if Kevin doesn’t win “Top Chef”, I’ll be really surprised. Unless of course one of the innovative Voltaggio Brothers wins.

9. “True Blood”: I miss you, young Jessica, my favorite vampire.

"True Blood"'s Jessica, the brattiest and best teenaged vampire in Bon Temps.

If I had to pick my desert island show, this would be it. If the desert island had a TV.

10. “Mission Impossible”:  I am absolutely addicted to this surprisingly complex ’60s series. It’s on between midnight and 2 a.m. on the AmericanLife Network (ALN), and I am under its spell from the second it starts. There’s nothing like the Cold War and Latin American dictators to get your adventure-thriller blood boiling. Problem is, there is something about this guilty pleasure that puts me to sleep within 5 minutes of its distinctive theme. It never fails, no matter how wide awake or tired I am. So I DVR it, and during daylight hours, watch Cinnamon, Paris, Phelps and the gang keep the world safe. Like Jack Bower, but not.

11. “Dexter”: I’m still sticking with you Dexter even if I have to see John Lithgow naked and you are completely predictable.  I judge TV predictability on “Oz,” one of the most adventurous cable TV achievements. You never knew what to expect and which main character would be killed off. On “Dexter” you always know what to expect, and Dexter is always safe — but it’s done so well, it almost doesn’t matter. Michael C. Hall is an acting revelation, but it’s the opening credits that are so good, I’m in for the whole next hour.

Dexter/Michael C. Hall and his sister/wife Deb/Jennifer Carpenter. You figure it out.

… is to never be kissed? Click here to see one of the best practical jokes in a long time. BRAVO, MR. FINCHER.

MAN, that cover is saucy.

I’m totally going to blog about The Sexiest Man Alive. That is, if I can get my fingers to work this morning. It’s at least 50 degrees in my office and the digits don’t want to work as fast as usual.

Anyway, Johnny Depp. Yummy! Those eyes. I’m really not going to start drooling *gets out the bib just in case*. He really is one sexy mofo. Oh, I know people are attracted to different things, but he has this (I was so about to bust into French but I can’t spell it) air about him. He’s a man who can be either the boy next door or the man your mama always warned you about. He’s just that hot.

So who else makes it on my list of men who are so flexible (in more ways than one I’m sure *eyebrow waggle*) they can play any part? List time!!

1. Edward Norton will always make my list. He isn’t your usual good-looking man. He’s actually kind of unassuming if you think about it. Except when I watched Fight Club, I was instantly drawn to him. (Hello Brad, you were a hottie too, grrowl.) Then, I saw him in Death to Smoochy and fell in love. If you haven’t seen this movie, you don’t know what you’re missing. It’s so absurd, but man…it has EDWARD NORTON in it!! *swoon*

2. Brad Pitt. You didn’t honestly think I could have a list of sexy men and not put Mr. Pitt on it, did you? Pffth. Brad…oh Brad, I’m mad…for you! So we all know he was dead sexy,  yet whiney in Interview with the Vampire. Those fierce, freaky eyes, that long hair…and fangs! Hubba, hubba. He so could’ve bit me anytime he wanted to. Then he had to go and make Troy. I distinctly remember seeing this at the theaters with my mom. You know that part when we see Brad in all his golden, sun-kissed, naked glory? Oh yeah, that’s my favorite part of the whole friggin’ movie! Moving on…(glad I got the bib out)

3. Jake Gyllenhaal. He has such a boyish face with those big blue eyes and that wide smile. I swear, if I were still a teenager, I would so have a shrine dedicated to his cuteness. I first saw him in Bubble Boy…500 dollar! 500 dollar? 500 dollar! Sorry, had to get that out of my system. He was cute and clueless and I wanted to hold him and pet him and call him George. Then, I saw him in Jarhead. I love a man in uniform…buzzcuts, muscles, sand, Nirvana playing in the background. Mm.

4. Christian Bale. I know, I know, he’s got some serious anger management issues and a lot of people don’t like him because of it. Am I ever going to meet this man? No, I seriously doubt it unless he’s given the role of Lucian when my manuscript makes it to the silver screen. Then, it’s on like Donkey Kong. One night I was bored and decided to watch American Psycho. OMG (or to borrow a phrase from fellow FF&P’ers) ZOMG!! Christian Bale running through a hallway in nothing but a pair of tennis shoes, wielding a chainsaw. I was in love! Then, I saw him in The Prestige and I didn’t even look at Hugh Jackman (who is also luscious). He was bad, he was good, he was confusing me! But I wanted him anyway. Evil, naughty man who needs to be spanked.

5. Liev Schreiber. Hm, you’re probably wondering who he is. Most recently, he played Sabretooth in X-Men Origins: Wolverine. I first saw him in Mixed Nuts dressed as a woman. I thought he made a pretty woman and to be honest, I thought he was the best character in the movie. Then I saw him in Scream and I was in instant lust. Okay, he was a bad guy, not a bad guy, still a bad guy, Hell I don’t even remember if he turned out bad in the end or not. It didn’t matter. I thought he was cuuuuute! I wish he’d get more lead roles because I think he’s a delicious actor.

And that’s my list of five sexiest men alive. I feel as though I’ve cheated ya’ll by not providing pictures, but let’s be honest here…If I had looked for pictures of them, I wouldn’t have posted this at all because I’d still be drooling and scrolling through my list.

So who is on your list of sexiest men alive? I really wanted to put Mike Rowe on this list…he’d come in 6th to be sure. I just love that man. He’s so cute and funny and his voice is divine! Okay, back to the questions: Do you agree with my list? Love these men in a different movie? Hate all of them? Give me some opinions here folks!

“I am the Dragon. And you call me insane. You are privy to a great becoming, but you recognize nothing. To me, you are a slug in the sun. You are an ant in the afterbirth. It is your nature to do one thing correctly. Before me, you rightly tremble. But, fear is not what you owe me. You owe me awe.”

Red Dragon, the third and final film in the Hannibal series that is worth rewatching. Again, the writing, characters, acting and sets are magnificent. The direction could use a little work, but if you told me, “the guy who did Rush Hour and Xmen 3 is making the film of Red Dragon I would have slaughtered families. But no, he did a lot better than could be expected based on his other films. Rush Hour is fine, amusing, but it really doesn’t cut the mustard.

Anyway, despite the fact that I had previously felt it was my favourite, I’d say it is maybe the weakest of the trilogy (I’m not meaning to be insulting to Hannibal Rising, but it’s not worth including. Also, I’m not meaning to say that I don’t insult it, I’m just not doing so now.) The character of Francis is amazing, very well done by Ralph Fiennes, as usual. Same with Graham, I think he is a great character and Edward Norton does a really good job. Anthony Hopkins doesn’t need to be mentioned since he and Hannibal are really in another league, though in this film I can see the direction on him.

So, in hindsight, I’d say that Silence of the Lambs is definitely the best made, with probably the best Hopkins performance of the three. I still really adore a great deal of Hannibal, with only a few moments that aren’t dealt with well, plus some of my dislikes for the story which I don’t think can be avoided. I’d put it in a close second after Silence, only put back by some weak filmic techniques. Red Dragon comes in at a very memorable third, it is still a great film, but the book is not completely translated to the film. The feel is not there and while Ratner didn’t do a bad job, I would put some blame on the direction.

Anyway, all are great films, very worth a watch, very worth a read. Read and watch Hannibal Rising just because you should, but do not let it ruin the others for you.

QotD: “I have no pity.”

I watched Red Dragon earlier in the day rather than tonight and I did go out with friends. I have some money left but not a lot. Not as much as I’d like. But, I made sure to trade it well, for precious liquids.

So, I’m typing this in Word so that I can fix spelling mistakes, for once. Liquids and spelling do not go together all that well. Tomorrow night promises to be even more damp, but that isn’t costly. It also promises to be smokey, considering the crowd, not my usual conspirators, but friends of friends who I approve of, some of them. Not all.

At the moment it is late into the dark and I am enjoying Lou Reed’s relaxing songs of violence and menace, sitting in the darkness of my room with the light coming from my screen and from the window, which, for once, isn’t creating an “artificial night”, but letting in the real one. Melbourne nights are bright, which I like. I enjoy slow walks home, relaxed by drink, a cool breeze, light enough to see everything but dim enough to not need sunglasses. But you still wear them, of course.

Someone has taken my lovely headphones, so I’m using my speakers. I don’t usually do that at this time of night, as I’d prefer to have it louder, but my housemates aren’t about like me tonight. The moon is away so most of the monsters are away. I can barely hear this, fuck it, it’s going up.

I feel like sitting outside, I might go do that now.

(break)

It’s nice outside tonight; I wish someone else was awake. The sun is around the other side and there’s a breeze. No stars, but the sky is always nice to look at. Cicadas can fuck off elsewhere though. Or I’ll go where they aren’t, I’m not a fan.

I’ll write more on Red Dragon another time.

I met some alright people tonight, some I knew already. Not everyone impressed me, but nobody was too bad, it was a comfortable crowd.

I want another drink, but I don’t know if I need one.

(break)

I got one.

The problem with nights like these, they have the potential for being great, long nights with friends, but there are no friends around. I’m often fine with solitude, but when I’ve been with people and I’m still in a people mood, then they’re not there. I’m just here, by myself, making incomplete sentences in the dark.

Tomorrow will be better, the words that get you through today,

Goodnight cow, goodnight moon, goodnight cow jumping over the moon,

Your damp, smoked song of violence and menace,

TDE

• All the women are gorgeous and all the men are ugly — what’s up with that? Is this show really saying that if you’re an aging man you can still have “what it takes”? The show is immediately followed by “Cougartown.” So is this supposed to reflect the Zeitgeist or what? Women of a certain age are cougars, while men of a certain age are — still capable of nabbing hot young babes? Self thinks this show deserves a plain older woman with a gorgeous hot young husband.
• Ed Norton did a hilarious bit as member of Spandau Ballet. Ed, luuuv your Scottish accent or whatever the hell accent that was supposed to be.
• Elizabeth Banks was also in this episode. She was radiant — skin glowing, blonde hair perfect, boobs perky — and she was even funnier than Ed Norton, OMG!
• The actress who plays Ed O’Neill’s eldest daughter reminds self so much of one of her nieces –  no wonder all the boys in niece’s high school are her total slaves.
• Best family bonding moment: Ed O’Neill squirting his pubescent (chubby) kid in the face with a water bottle. Nice (but still cool) way to put a kid in his place, Ed!

Stay tuned, dear blog readers, stay tuned.

“Great Expectations”

November 18th, 2009

In terms of the great comedy battle of 2009, which continues to rage amongst shows both new and old, Modern Family is at a distinct disadvantage: with Parks and Recreation delivering some legitimately great comedy and Community doing a really compelling and confident meta-storyline, the simplicity of this show is a disadvantage in terms of being flashy. There comes a point where the hype surrounding the show creates greater expectations than the storylines themselves can live up to in terms of their premise, requiring viewers to appreciate the strong execution where originality isn’t overtly present.

“Great Expectations” is a solid episode of the show, featuring a number of fun loving gags and a couple of big guest stars, but nothing stands out as particularly stunning as compared to some of the other comedies. In this instance, I think there was enough nuance to each individual story to continue to prove how strong the writers understand these characters, but it nonetheless follows similar patterns to what we’ve seen in the past. I think it’s one of their stronger episodes due to a nice role reversal, but it’s not reaching as high as some of the other comedies are right now.

For me, this episode is about the little things more than it is about the guest stars. While Elizabeth Banks (playing Cameron and Mitchell’s barhopping friend Sal) and Edward Norton (playing the bass player/backup vocalist from Spandau Ballet) are both very funny and integrated well into the episode, the storylines they’re involved in really have very little to do with them. I thought the Cameron/Mitchell story was perhaps the episode’s least interesting, if only because it was so predictable: we’re shown that they’re having trouble getting out with Lily around, they make a night out of it with a friend, and discover that their friend is jealous of Lily and devolves into a petulant child. There’s nothing wrong with the storyline, and Banks sells the child-like reaction perfectly, but the storyline had absolutely no twists or turns or nuances to it – just a couple of fun moments (Mitchell refusing to allow her to hold her, Mitchell’s “I’m going in!” Re: new boobs), and strong performances all around.

I thought the other two storylines were simply more interesting conceptually. Jay’s Night, featuring Sloppy Jays and western movies, was the sort of storyline that was charming because of how great Ed O’Neill is and more importantly how you get small little running gags like Gloria’s tone deaf singing or Luke taking everything that Jay says as a sign that he’s going to die soon. Combine with the running battle between Jay and Haley, which nicely ties into what we know of Claire’s own childhood, and the conclusion with Dylan wanting to stick around for Jay’s Night, and the storyline just had a nice flow to it. It was never overly dramatic or overly broad (Jay squirting Manny like a dog was perhaps a BIT broad), staying within a simple comic mode and delivering on its promise.

And I thought the Claire/Phil storyline was the episode’s strongest, if not comically, then certainly in terms of the characters. Phil is still a bit too much like Michael Scott (the scene listing off the things he wants could have very easily been put into Steve Carell’s mouth without much in terms of change), but as with Michael it’s always good when he gets to be the smart one. He, unlike his wife, is capable of being romantic, so the anniversary becomes about Claire’s struggles rather than Phil’s. It’s a nice change of pace, as Julie Bowen is likeable even when she’s incapable of being romantic and Ty Burrell was great in interacting with (his good friend) Edward Norton as they struggle over whether the charade (which was a pretty ingenious comic device) could be continued. Like I say, the big laughs weren’t there, but the emotional payoff was solid and it kept Phil out of his usual tomfoolery role.

Nothing complex, but a funny and enjoyable episode – no need to place it relative to anything else to enjoy that.

Cultural Observations

• Alex gets all of the best one-liners amongst the grandchildren, and here she both played into Haley’s vanity and created Luke’s trauma over her grandfather’s death. Hoping for another episode for her soon.
• I was thinking of how Edward Norton was going to do “funny” in this show’s style, and it’s clear now that I should have thought of “accent” right away. Always funny!
• Spandau Ballet, of course, is an actual band, although I didn’t entirely realize this until I heard him humming the melody of “True” and I realized I recognized it (but would never have known the band name). I did enjoy the joke the show got out of this, as the reason Izzy Lafontaine refused to continue the performance was that the song was called “True” and the story was false.
• Wait, Orchestral Manoeuvres in the Dark was also a real band? Oh, The 80s.

Una oda a esa nave llamada locura así como a los salvajes y reprimidos deseos por abordarla

Fight Club también pasó por ese fenómeno que le ha ocurrido a otras películas como Blade Runner y que es un producto directo del desarrollo de sistemas caseros de video; mientras que en su salida en cines (sobre todo en Estados Unidos) nunca logró alcanzar el verdadero éxito, fue su versión en DVD la que llegó más lejos y se transformó en una película de culto.

Creo que cada generación y cada década tiene una o dos películas que, a pesar de ser duras y controvertidas, se transforman en el sentir de una época; logran transgredir el ámbito temporal y se transforma en un “must”.

Películas como The Deer Hunter (1978), A Clockwork Orange (1971), The Graduate y la misma Blade Runner que ya ha referido son ejemplos clásicos y creo que Fight Club pudo integrarse a ese selcto grupo.

“Ésta es tu vida y se está acabando minuto a minuto”

Basada en una novela (del mismo nombre) escrita por Chuck Palahniuk, la cinta es un verdadero viaje a través de la locura de ese personaje sin nombre, al que es referido simplemente como El Narrador y su alter ego Tyler Durden.

El Narrador es un simple mortal con un trabajo sencillo que está en pleno proceso de enviar todo al demonio. Un proceso con el que se quiere desligar de la vida del hombre común, de los deseos y necesidades creados por una sociedad consumista y de transformarse en un individuo ajeno a la realidad y en cierta manera encargado de alterarla, modificarla para dar a conocer a otros su filosofía.

El Club de la Pelea, el recinto donde se reúnen los miembros a partirse la cara no es otra cosa que una válvula de escape que no tarda en transformarse en un movimiento anarquista de resistencia.

La primera regla es “no hablar del club” sin embargo la voz se corre con una velocidad brutal y muy pronto son cientos de seguidores; no importa el trasfondo, no importa el rol que se juegue en esta sociedad hipócrita, lo importante es poderse dar de golpes hasta sangrar para así olvidar en una marea de adrenalina los estúpidamente horrible y desalentadora que es la vida.

Si hay una opción y ésta es liarte a golpes y dejar que te rompan la crisma. Mañana será otro día.

Esta semana El Club de la Pelea (como se le llamó en México) cumplió 10 años sin embargo, después de verla otra vez, es fácil darse cuenta que la premisa de la película sigue siendo igual de vigente que hace una década. Como una terrible premonición de lo que ocurriría tan solo tres años después la cinta nos habla de cómo se derrumban las estructuras dentro de una mente y de cómo ésta quiere derrumbar las estructuras que la rodean.

El simple hecho de salir a la calle y provocar un pleito con un perfecto desconocido es una temeridad que solo pueden hacer algunos que más tarde no dudarán en integrarse al proyecyo Mayhem (la palabra significa mutilar a alguien para impedir que pueda defenderse en una pelea o una guerra).

Es difícil seleccionar una escena o secuencia favorita de la película; las actuaciones de Bard Pitt y Edward Norton son magníficas y la forma oscura y expresionista en que está dirigida es una obra magnífica de David Fincher. En lo particular me intriga mucho la escena en que El Narrador se golpea a si mismo para alegar un abuso por parte de su jefe; la secuencia es en cierta manera una de las más grandes ilusiones de muchos asalariados llevada a la realidad.

El final es diabólicamente premonitorio mientras que la trama nos pone a pensar sobre la banalidad de lo que llamamos nuestra verdadera civilización, sobre la profundidad de la cultura televisada pero sobre todo, nos demuestra de manera irónica que, por solo un día, nos gustaría ser ese Taylor Durden que vende jabones a las señoras ricas hechos de su propia grasa  y no teme enfrentarse con los puños limpios a un mafioso o a un camionero que pesa lo doble.

Salio la nueva versión DVD de Fight Club, si no la tienen cómprenla; si no la han vista, véanla y si ya la vieron, vale la pena repetirla. Es un auténtico Clásico Electrónico.

Brady (Edward Norton) hat sich mit der Züchtung einer Art Super Grases ein großes Geschäft aufgebaut, doch damit kommt er in Konflikt mit dem Drogen-Baron des Ortes. Um heil aus der Sache rauszukommen täuscht er seine Ermordung vor, doch das ruft seinen Bruder Bill, der Uniprofessor ist, auf den Plan. Der staunt nicht schlecht, als er seinen Bruder lebendig vorfindet. Ein Kiffer mit seinem spießeigen Bruder auf der Flucht. Lasset die Spiele beginnen.

Meiner Meinung nach lohnt es sich schon ins Kino zu gehen, weil Edward Norton eine Doppelrolle spielt. Und auch sonst sieht das alles nach einer ziemlich interessanten Komödie aus. Eine imdb-Wertung von 8,9 lässt auf großes hoffen.

Am 25. Dezember soll der ganze Spaß in den USA rauskommen. Für Deutschland ist, wie so oft, noch kein Termin angesetzt. Aber kommt, es ist Edward Norton, das alleine wird schon dazu führen, dass der irgendwann hier erscheinen wird.

Saiu hoje, o 1° trailer do novo longa protagonizado por Edward Norton, Leave of Grass. Trata-se de uma comédia escrita, produzida e dirigida por Tim Blake Nelson, o médico que tentou ajudar Bruce Banner no final de O Incrível Hulk, também protagonizado por Norton.

Na história, Norton faz o papel de gêmeos. Um é professor de filosofia, aparentemente normal. Já o outro é um criminoso considerável, que acaba arrastando seu irmão professor para o mundo do crime quando se metem com alguns usuários de drogas. Susan Sarandom e Richard Dreyfuss são outros nomes do elenco.

A estréia acontece no Natal, dia 25, nos EUA. Infelizmente, aqui no Brasil ainda não há qualquer previsão.

Leia mais de E. Norton:

. Del Toro apresenta seus vampiros

. Edward fala sobre Hulk

. Hulk, de volta?

Guilherme Jr.

So today I actually did some work. A bit of World History Presentation preparation and a bit or reading.

And I watched two movies, two old and hackneyed movies – Primal Fear and Fight Club. I don’t know if its me getting clever or these movies growing outdated, but both were too predictable despite the fact that it was my first time watching(both). Obviously I was slightly thirsty for some piece of Edward Norton and I admit, cuz  I went so far as to download Death to Smooch.

One impression I got from today is that planning can be both painful and exciting. As far as planning for this winter vacation goes, I am not terribly excited. Just so many damn things to take care of.

• SAT – probably Reasoning, if the November score’s decent I may use it but still, I do not want to lose a point.
• APs – I can handle about two on my own but for History subjects and perhaps something like Biology of Physics I am in a dire need for help. As for now I think I’ll take a total of five or six exams – Eng Lit, Comp G&P, Stat, European History and probably Biology. I don’t know. I really want to take Physics but I am not sure if I can afford the time.
• Debate – I am glad that I was cool enough to completely severe my inclination to sort of engage in MUNs and all the … things I don’t find terribly interesting, both intellectually and socially. Couple of things, probably one domestic competition and one in U.S. Not sure yet but I guess it’s pretty much my only real object of passion through high school.
• Internship – I promised the CEO that I’d definitely show up at the gallery more this winter. And I really want to. Had I lived in Seoul at least, this would have been a less remote idea. But the input-output measurement simply does not allow me to take the chance. Shit. I really hate breaking promises.
• Community Work – I have nothing!!! No fucking Community Work. Is this gonna cost me, or at least compromise my college prospect? Because American academic establishments chose to increase their discretion at the expense of patent hypocrisy? Uh, Anyway, I am not spending my winter wiping floors or cooking rice for strangers.
• A bit more …

So that’ s about it.

How’s my winter gonna be?

Uh…

Only God knows.

]]> http://emilspangenberg.wordpress.com/2009/11/16/by-the-people-dokumentaren-om-obamas-vej-til-det-vide-hus/ Mon, 16 Nov 2009 08:43:57 +0000 emilspangenberg http://emilspangenberg.wordpress.com/2009/11/16/by-the-people-dokumentaren-om-obamas-vej-til-det-vide-hus/

I går aftes viste svensk TV den formidable HBO dokumentar – “By the people” En dokumentarfilm der følger et ukendt kongresmedlem, som pludselig, med sin key note speach på det demokratiske konvent i 2001, blev et lysende politisk ikon med helt unikke kommunikationsevner. Talen på konventet  fik de to filmfolk, Alicia Sam og Amy Rice til at tænke: Lad os følge ham her med vores kameraer – det her kan blive stort! Selv de havde ikke forventet at være på sporet af den mest skælsættene kampagne i USA’s historie. Vi kender alle det historiske resultat, men vejen dertil er ikke skildret så intenst som her. Filmen er produceret af Edward Norton for HBO

Interview med de to instruktører:

Dos hermanos gemelos, cada uno con un modo de vida diferente, vuelven a encontrarse, pero la vida criminal de uno de ellos llevará el caos a la tranquila existencia del otro, poniendo a prueba el alcance del amor filial. La cinta Leaves of Grass se había mantenido en la más completa discresión durante mucho tiempo, y sólo ahora, faltando un mes para su estreno, podemos ver su primer trailer. Si bien el tema es un viejo cliché de comedia, el verlo en una historia dramática puede ser una cuestión bastante refrescante, así que valdrá la pena darle una oportunidad.

All right, m’lovelies! When self cocked open one eye and gazed at the window (because Gracie was whimpering to be let out), she saw the sun. And thereby determined she’d slept approximately six hours. Not bad!

Yesterday was very busy, as she went to Sequoia Station to try and mail a grant application, then drove her clunker, actually drove it all the way into the City, all for the pleasure of listening to Merlinda Bobis read from her latest novel, The Solemn Lantern Maker.

And it was an exceedingly interesting reading, for self watched the Bayanihan Community Center gradually fill up until there were no more chairs left. And moreover she got to hear Merlinda’s rich, sonorous voice, and experience her passion for her home country once again.

After getting home, self discovered that Stanford had just beat USC, erstwhile Pac-10 powerhouse, by an unbelievable 34 points. Then self watched with hubby as University of Pittsburgh defeated Notre Dame. After that, self got to watch a little of “2 Fast 2 Furious,” explaining to hubby who the different actors were: Paul Walker, Dev Aoki, Ludacris (but apparently no Vin Diesel; not for this installment, anyway). Then she fell asleep with very little trouble.

Then, self was awakened by Gracie, as mentioned earlier. Then she picked up The New York Times she’s been reading forever (Nov. 2 issue), the Special New York Marathon issue, and there was an interview with Edward Norton, one of self’s favorite actors, who said, sounding like a character from “Fight Club” or from “300″ (which he was not in, too bad):

Pain is inevitable. Suffering is optional.

Anyhoo, Norton made it all the way to the end of the race, and afterwards, when The New York Times nabbed him, they found him at the finish line, “looking upbeat and spry.” He “finished in 3 hours 48 minutes 1 second.”

Here’s the reason Norton ran:

Norton ran for the Maasai Wilderness Conservation Trust, which aims to preserve the eco-system and culture of the 7,000-member tribe in Kenya. By Sunday morning, Norton and 29 other runners had collected more than $760,000 in sponsorships.

And today, hubby says he wants to see “2012.” Stay tuned, dear blog readers, stay tuned.

L’incredibile Hulk è un film del 2008 basato sul fumeto della Marvel Comics. E ‘diretto da Louis Leterrier e Edward Norton. Non è un sequel di Hulk (2003), ma piuttosto un riavvio che stabilisce un nuovo back-story in cui Banner è diventato Hulk come una pedina inconsapevole di un regime militare.

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