The "First Significant DVD Release
of 2007" is currently being hailed on the first significant new blog launch of 2007, Glenn Kenny
's In the Company of Glenn
(learn a bit more about Premiere
's film critic from Aaron Hillis
and Aaron Aradillas
). So the release is the Robert Mitchum Signature Collection
, significant, of course, for Robert Mitchum
alone. But: "It's also kind of half an auteurist goldmine, boasting the started-by-von-Sternberg
's odd Texas melodrama Home From The Hill
(1959), and Preminger
's most whacked-out evocation of amour fou (at least for my money), Angel Face
And the Second
Significant DVD Release of 2007"? "Fantoma's amazing The Films of Kenneth Anger Volume One
, which, like the Mitchum box, streets on January 23rd."
"In Anger Me
, a sort of autobiofilmography of Kenneth Anger
, the subject is front and centre, which would be fine if the avant-garde director could zoom in on his influences, ideas and aspirations," writes Brian Gibson
in Vue Weekly
. "Instead, Anger Me
is a pleasant but not very insightful tour of Anger's homoerotic phantasmagorias and pagan-dream films."
's art seems magical, but if it's not a miracle, we ought to be able to study it systematically. How?" Neal Gabler's Walt Disney: The Triumph of the American Imagination
sparks David Bordwell
What a terrific overview - a three-minute history, followed by links for further exploration - Matt Riviera
offers in his review of Thai Cinema / Le cinéma thaïlanais
The First Emperor
is based on the 1996 Chinese film The Emperor's Shadow
and directed by Zhang Yimou
. Those are just two of the many reasons Time
film critic Richard Corliss
is reviewing a Metropolitan Opera production. But it's also being beamed lived into over 100 cinemas in the US, Canada, Europe and Japan.
pinpoints the moment at which "The Boss of It All
becomes, in the infinitely ambiguous [Lars] von Trier
manner, both an apology for the grim, moralizing tone of Dogville
and the cinematic equivalent of a 'screw you' - a passive-aggressive assault on the critics who rejected his unfinished (and now abandoned?) trilogy."
, literary editor and national editor of the Atlantic
, admires two books by David Thomson
, A Biographical Dictionary of Film
, a biography of Orson Welles
. Jonathan Rosenbaum
doesn't. He wrote a letter to the monthly - which didn't publish it. But that's one thing blogs are good for. Very good for.
Jay A Fernandez
reads another screenplay: "If ever a movie begged for the resurrection of the drive-in, Drive-Away Dykes
is it. A lesbian road-trip action sex comedy penned by writer-producer Ethan Coen
) and his wife, film editor Tricia Cooke
promises all the laughs, thrills and mischief of the old double-bill sexploitation cinema."
Also in the Los Angeles Times
Sweet Mud "paints an unflattering picture of life on the kibbutz in the 1970s," writes Ken Ellingwood. "More harshly put, it shows a bunch of petty and sometimes cruel eccentrics claiming allegiance to an egalitarian ideal while turning their backs on the suffering of a fellow member." He talks with director Dror Shaul.
Carina Chocano: "If the constant flow of bad news imagery and the hopeless outlook of last year's best films have taught us anything, it's that violence is meted out at random, without rhyme or reason, and that the innocent suffer disproportionately."
Tina Daunt: "After years of working in locales such as Somalia and Ethiopia, [John] Prendergast, 43, has become one of Hollywood's most trusted counselors on the troubled continent."
Patrick Goldstein meets Sacha Baron Cohen, noting that his month's of marketing Borat in character was a "brilliant" move, "earning a tsunami of free press from news organizations that happily turned their reporters into straight men for a series of madcap interviews. In a way, he's still at it, unveiling the real Sacha at press parties and Q&A sessions at the height of Oscar season. His publicist first called with the idea of Cohen doing an interview - as himself - the day after he scored a Golden Globe nomination. Coincidence? I think not." Related: Time's Andrew Lee Butters in Beirut: "The fact that a movie satirizing anti-Semitism opened around the same time that Hizballah launched a campaign of protests to bring down the Lebanese government is surely mere coincidence, and not evidence of a subtle Hollywood-Jewish plot to undermine the Islamist group's anti-Israel agenda. Nevertheless, it remains remarkable that Borat played in Lebanon at all."
Choire Sicha meets Cate Blanchett. So, too, does Sabine Durrant for the Guardian.
Some folks in Long Beach CA "are appalled at the Hollywood version" of their community in Freedom Writers, reports Gina Piccalo. Rob Nelson blurbs the film in the Voice.
Claudia Eller has the latest on yesterday's shakeup at Paramount.
"Meryl Streep will star in the movie version of the popular ABBA musical Mamma Mia!"
Bernadette Murphy reviews Amy Wallen's Moon Pies and Movie Stars, a novel that "features over-the-top characters, a wild plot and hilarious scenes and yet is surprisingly poignant."
Patt Morrison on Schwarzenegger's State of the State speech: "Politicians make explicit what the box-office zeitgeist implies about our yearnings and our terrors - what do we want, and what are we afraid of?"
At the Time Out Movie Blog, Chris Tilly has a bit of news on Charlie Kaufman's directorial debut, Synecdoche, New York. So do Nicole Sperling and Gregg Goldstein in the Hollywood Reporter.
"Access Hollywood has learned late Nirvana singer Kurt Cobain may finally be immortalized on screen with the permission of his widow, rocker Courtney Love [who] has acquired the rights to Heavier Than Heaven, author Charles Cross' biography." Via Fimoculous.
Steve Finbow for Stop Smiling:
In the three years since Spalding's death, it's as if everyone's at it - the memoir, the autobiography, the monologue. David Sedaris, Augusten Burroughs, Neal Pollack and Jonathan Ames have all plunged into the choppy waters of the confessional - the Tellus Straits. But only Spalding Gray could serve up that admixture of humor, tragedy, naivety, and relentlessness. And it is only Spalding Gray among these self-confessors of American letters who may be considered sui generis.
More from Jette Kernion at Cinematical.
Twitch's Todd reviews Apocalypse Oz, a road movie with a screenplay cobbled together from dialogue creatively lifted from Apocalypse Now and The Wizard of Oz. At the site, you'll find the trailer and what basically amounts to an endorsement from Francis Ford Coppola.
The school board of Federal Way, WA, a suburb of Seattle, has "restricted showings" of An Inconvenient Truth, "including requiring that it be balanced with an adequate opposing viewpoint," reports the AP. More from Robert McClure and Lisa Stiffler in the Seattle Post-Intelligencer: "'Condoms don't belong in school, and neither does Al Gore. He's not a schoolteacher,' said Frosty Hardison, a parent of seven who also said that he believes the Earth is 14,000 years old."
"For Hitchcock music was not merely an accompaniment. It was a focus. And it didn't just reveal something about the characters who sang the score's songs or moved under its canopy of sound; music could seem to be a character itself." Edward Rothstein's been reading Jack Sullivan's Hitchcock's Music.
Also in the New York Times:
Felicia R Lee imagines that you're Alexandra Pelosi and that you're anticipating HBO's broadcast of Friends of God: A Road Trip With Alexandra Pelosi: "It just so happens, though, that your designated tour guide in that world is the Rev. Ted Haggard, then president of the National Association of Evangelicals who, after your film is finished, is accused of buying illegal drugs from a male prostitute and paying him for sex. And your mother, it turns out, makes history, becoming the first female speaker of the House just weeks before your film is broadcast."
Manohla Dargis: "In interviews [Nick] Cassavetes has tried to suggest that Alpha Dog is about lousy parenting. What rot. Alpha Dog is about the pleasure of watching beautiful bodies at rest and in motion. It's about the allure of youth, the erotics of violence and the inevitable comeuppance that must always be meted out whenever youth strays too far from the fold and another sad case becomes an evening's entertainment." More from Stephanie Zacharek in Salon, Steven Boone at the House Next Door and Kevin Crust in the LAT.
Sharon Waxman reports that James Cameron's $200 million 3D sci-fi extravaganza Avatar "will test new technologies on a scale unseen before in Hollywood." Related: Time's Rebecca Winters Keegan talks with Cameron and, on the Guardian's film blog, Danny Leigh proposes a resolution to the "clash of the Avatars." See, M Night Shyamalan plans an adaptation of Avatar: The Last Airbender. Leigh'd like to see "a sumo contest between Cameron and Shyamalan in matching fat-suits, with the winner allowed to use the footage as a DVD extra, and the loser having to change their title to Lady in the Water 2: The Passion of the Scrunt." And via Blake at Cinema Strikes Back, Sean Smith's talk with Cameron: "I'm so invested in the 3-D, and I love the challenge of creating an alien culture. We're creating a world from scratch, so it's really fun."
While Nick Schager, writing in Slant, finds Calum Grant and Joshua Atesh Litle's Ever Since the World Ended, "a tale of Bay Area survivors of a viral apocalypse... superficially indebted to the faux-verité trickery of then-phenom The Blair Witch Project," Jeannette Catsoulis sees "a rudimentary yet fascinating record of remembrance and reconstruction." More from Ed Gonzalez in the Voice.
Neil Genzlinger on Agnes Martin: With My Back to the World and Kiki Smith: Squatting the Palace: "The pairing... is interesting in that it shows just how different artists' methods can be. Ms Martin is pictured making detailed calculations on the spacing of her painted bands, while Ms Smith's vision is sketched on a napkin, and her approach to executing it is something like an act of surrender." More from Michelle Orange in the Voice.
Rachel Saltz finds Stomp the Yard to be "a strange and at times strangely compelling mix of black fraternity recruitment video and inspirational tale about a hip-hop boy in a stepping world." Related: Susan King has a backgrounder in the LAT. And, as Gregg Kilday reports in the Hollywood Reporter, it's currently the #1 movie in the US.
Reviewing Arthur and the Invisibles, Neil Genzlinger cracks a few jokes about the "technogoo" behind mixing live action and animation before getting to the point: "The real question isn't how these hybrid movies are made, but why. In this case, it's a tad unclear." More from Jeffrey M Anderson at Cinematical.
AO Scott: "Gory though it is, Primeval is notably lacking in the grim sadism that characterizes many recent horror movies."
"José Luis Cuerda's The Education of Fairies is a slight and effervescent, but charming and thoughtful demythification of a "happily ever after" romantic ideal," writes acquarello. Also, The Magicians, a doc that sounds doubly intriguing for cinephiles.
J Hoberman on Verdict on Auschwitz: The Frankfurt Auschwitz Trial 1963 - 1965: "If anything, the story of the Auschwitz genocide factory is today even more familiar—which makes the defamiliarizing "German" quality of this three-hour doc all the more necessary." More from Neil Genzlinger in the NYT and Ryan Stewart at Cinematical.
More Hoberman: "On the one hand, Alone With Her aspires to the faux documentary quality of late-60s hall-of-mirrors fictions like David Holtzman's Diary or Coming Apart, in which the protagonists are amateur filmmakers and the movie that we see is supposedly theirs. On the other, it wants to work as a genre thriller - albeit one that seems far less inclined to implicate its audience than such obvious precursors as Rear Window or Peeping Tom."
And also in the Voice: Nathan Lee on the return of Billy Wilder's Ace in the Hole: "Here is, half a century out of the past, a movie so acidly au courant it stings: a lurid pulp indictment of exploitation, opportunism, doctored intelligence, torture for profit, insatiable greed, and shady journalism."
"Intermittently charming and often tedious, Coffee Date is another in the endless line of low-budget, gay-themed, goodhearted sitcoms that dot the nether regions of the film landscape," writes Michael Koresky at indieWIRE. "Much as a film like Stewart Wade's can be derided for its lack of craft, visual ambition, and recycled narrative of sexual identity crisis, it also can't be denied that as a genre the marginalized gay indie, with its limited release pattern and eventual DVD and cable boon, is one of the strongest standing bastions of true independent American cinema."
"What makes a man give up so much?" wonders Steven Mikulan as, for the LA Weekly, he wanders the home of Mark Bellinghaus, collector of anything at all having to do with Marilyn Monroe. "Who are the people Bellinghaus is fighting and how did an insecure movie star become a gold mine long after her death? The answers to these questions involve more than obscure battles fought among collectors and memoirists. They speak to how our celebrity-driven culture and an unquestioning media have created a national audience that believes in anything it sees on television or reads on the Internet."
Rob Humanick at the Stranger Song: "In ways more complex than even the most ardent Lynch devotee is likely to recognize, Inland Empire challenges our very relationship to the fabric of film, from its own physical creation with digital photography to the split-personality groove it etches out, many scenes equally demanding both horror and humor from the audience." Related: Pointed to Scott Thill's interview with Lynch for Wired News earlier, but you can now read the full, "Uncut" version. Lynch is also a guest on the Leonard Lopate Show and, even if you couldn't give a flip about Transcendental Meditation, his voice is delightful as he defends his book, Catching the Big Fish against his host's skepticism and interruptions.
There's a lot to praise in The Good Shepherd, begins Patrick Martin at the WSWS, "But overall, there is very little political understanding in evidence." Except for "scattered hints," what's missing is an examination of "the impact of the CIA and its conspiratorial methods on the functioning of American democracy at home." Also, David Walsh on Children of Men: "It's good to be hopeful, but it's even better to be hopeful on the basis of something substantial and fully thought out. The difficulty is that the film's various elements do not fully cohere. The remarkable fragments remain fragments and thereby lose much of their impact."
k-punk on The Prestige: "The film's final irony concerns the fact that, to function as magic, genuine science must appear as an illusion."
Filmbrain: "Chloe's failure as an adaptation lies with director Go [Riju]'s decision to do away with the novel's more inventive elements - including a piano that makes cocktails when you play it, a very smart mouse, and brilliantly funny episodes inspired by the cartoonish violence of Chuck Jones or Tex Avery."
Travis Mackenzie Hoover at the House Next Door on Venus: "Mostly, it's a machine for providing [Peter] O'Toole with grandiloquently clever lines, and perhaps trading on his reputation as a drunken hellraiser: not for nothing does it reference the wife he left behind (Vanessa Redgrave, killing with kindness in her single scene of indulgence) and frame the cost of living high and witty in terms of personal isolation. Wisely, Venus doesn't do anything serious with the darkness at the edge of the frame: it just makes Maurice's extroversion that much more piquant and noble, and lets O'Toole say 'I ain't dead yet,' to audience delight." Related: Don Boyd interviews Hanif Kureishi for Time Out.
Alice O'Keefe meets Alejandro González Iñárritu for the New Statesman to talk about Babel: "Although Iñárritu himself contends that it is 'a film about hope' (he said that about 21 Grams, too), by the end you feel you have been privy to a long scream of pain. Humanity is so vulnerable, so misguided, and the world so horribly unfair. It is also possibly the best film you will see all year: searing, ambitious and provocative cinema."
Peter Sobczynski interviews Luc Besson for Hollywood Bitchslap. Related: Nick Schager at Slant on Angel-A: "[T]his long-winded fable functions as a squishy, supernatural serving of Chicken Soup for the Soul."
Also at Slant, Schager on Avenue Montaigne and From Other Worlds and Keith Uhlich on Jacques Rivette's L'Amour Fou, "a mish-mash of ideas and situations both brilliant and inane: a good stateside comparison, coincidentally created around the same time, is John Cassavetes's Faces, which, like L'Amour Fou, is a jagged-edge black-and-white psychodrama prone to rather unbelievably grand gestures in constrictively intimate settings."
At Koreanfilm.org, Paolo Bertolin talks with Kim Jee-woon about A Bittersweet Life.
Scott Gordon interviews Ricky Gervais for the AV Club. More from Matea Gold in the Los Angeles Times.
Lesley O'Toole meets Thandie Newton for the Independent, where Andrew Gumbel profiles William H Macy.
In the American Prospect, Noy Thrupkaew endures Roberto Benigni's The Tiger and the Snow, but just barely: "O assy clown-god - is this what unconditional love looks like? Hell is preferable. The damned are better - quieter - company."
"On the week of Richard Nixon's birthdate, on the week after Gerald Ford's funeral, on the night of George Bush's speech about committing even more troops to Iraq, I sat down with Robert Altman's Secret Honor for the first time in years," writes That Little Round-Headed Boy. Maybe you see where this is heading. Go along.
At the Siffblog, Kathy Fennessy recommends Doug Block's 51 Birch Street "to anyone who's ever had a family - happy or otherwise." More from Annie Wagner in the Stranger. Also, David Jeffers: "Diary of a Lost Girl unintentionally demonstrates the social behavior and attitudes within a pliant German society that led to the horrific national-hypnosis and manipulation that followed."
Dennis Harvey on Absolute Wilson: "[Robert] Wilson is funnier than you'd expect as an interview personality - though we also get strong evidence of his tantrum-prone perfectionism on the job." Also in the San Francisco Bay Guardian, Kimberly Chun welcomes Army of Shadows to the Bay Area. More on both films from Robert Avila and Michael Fox at SF360. And more on Army from Michael Tully.
Erika Baldt in Identity Theory: "Whether it's the questioning of one's sexuality, the pining over an unattainable crush or just general adolescent angst, a hand is extended in solidarity. We've all been there, The History Boys seem to say, no matter where we've come from."
Reporting in Variety on producer Scott Rudin's optioning the screen rights to Marisha Pessl's debut novel, Special Topics in Calamity Physics, Michael Fleming reminds us that Rudin is also producing an adaptation of Jonathan Franzen's The Corrections; David Hare's writing that screenplay.
Democratic presidential contenders, announced and unannounced alike, have been slipping through Hollywood a lot recently. Time's Jeanne McDowell reports: "Some come to test the waters; others are raising money. But all of them are looking for face-time with celebrities, entertainment industry heavyweights and Hollywood's Democratic powerbrokers."
In 2005 the UK Film Council launched the Digital Screen Network "in order to broaden access to non-mainstream movies by reducing the need for companies to distribute their films only in expensive 35mm celluloid prints," notes Rachel Cooke. "So why is it still so hard to see new British films unless you book tickets literally the day they are released?" Try, she insists, to catch London to Brighton anyway. Related: Nigel Andrews's talk with John Woodward, CEO of the UK Film Council, in the Financial Times.
Also in the Observer: Renée Zellweger will likely play Leigh Anne Tuohy who, with her husband Sean, basically adopted and raised Michael Oher, who went on to become a celebrated football player for the University of Mississippi. Vanessa Thorpe reports that the screenplay will be based on Michael Lewis's The Blind Side: Evolution of a Game.
"It has been a bracing, invigorating but often uncomfortable experience." Peter Bradshaw reflects on the often raucous goings on at the Guardian's site ever since the arts critics started blogging and readers have been able to comment: "The critic is finding that the newly empowered bloggers do not share his or her opinions about the new film, play or book, and especially his or her high opinion of him- or herself. So critics must sharpen their wits, clarify their opinions - and, just as importantly, get a sense of humour about themselves."
"This year officially marks the 200th anniversary of the abolition of slavery, yet there are currently three million illegal migrant workers in this country who can be classified as modern-day slaves." Nick Broomfield on why he's made the dramatic feature, Ghosts. Bradshaw gives the film four out of five stars. Related: Dave Calhoun interviews Broomfield for Time Out.
Jonathan Jones: "This is one centenary worth thinking about. It's not just 100 years in the life of a painting, but 100 years of modernism. Les Demoiselles d'Avignon is the rift, the break that divides past and future. Culturally, the 20th century began in 1907."
Michael Billington on Kenneth Tynan: "[I]t was as a drama critic, first on the Evening Standard and then the Observer, that he helped to change British theatre. For my generation, his influence was inescapable." Plus: extracts from Kenneth Tynan: Theatre Writings.
"One of the world's iciest literary feuds, sealed with a punch-up in a cinema 30 years ago, is thawing as Colombian Nobel prize winner Gabriel García Marquez and Peruvian writer Mario Vargas Llosa prepare to publish together," reports Giles Tremlett. In the London Times, Ben MacIntyre comments.
Maya archeologist Elizabeth Graham: "The chases were terrific, and I cheered for the good guys. But if Apocalypto is supposed to bear some relation to Maya civilisation, then I have to hate it." More from Giles Fraser: "It's another Christian snuff movie, but most reviewers haven't the theological literacy to spot it." And: "Ricardo Cajas, Guatemala's presidential commissioner on racism, said yesterday the film had set back understanding of the Mayan people by 50 years and compared its impact to that of the negative images of Native Americans in US movies from the 1950s. More than half of the population of Guatemala are descended from the original Mayans."
"Would he have triumphed over Richard Nixon in the November election, becoming the second President Kennedy? Would he have cut short the agony of America's involvement in Vietnam, not to mention spared them Watergate?" As Bobby heads to the UK, Ed Pilkington finds six people who where there at the Ambassador that night. Related: Robert W Welkos in the LAT: "For a movie that has grossed only $11 million, been panned by half the nation's film critics and is now almost gone from the local megaplexes, one might think that Bobby faces an insurmountable climb if it is to capture Academy Awards attention. But that doesn't take into account another familiar name: Harvey."
"Just about the only worthwhile byproduct of the Vietnam/Watergate catastrophe was the spiral of anguished national self-examination which, in 10 years, revised just about every common assumption and national illusion that had brought the war about," writes John Patterson. "The Hollywood Renaissance played a significant role in that wider cultural overhaul." It's taken a while (as it did then), but the first signs of a perhaps similar reaction just beginning to show.
A chat with Neil LaBute.
"Dirty Dancing, the ultimate chick-flick, returns next month. In celebration, chick-lit novelist Emily Barr explains how to make the perfect chardonnay-and-chocolates movie."
Johnny Depp will produce and may star in a film about poisoned former KGB agent Alexander Litvinenko. And, as Brendan Connelly points out, Michael Mann aims to make a story based on the film as well.
"January 2007 is a vintage dump month," sighs Jonathan Bernstein.
Adolescent-n-self-righteous R us: Armond White in the New York Press: "Alpha Dog recapitulates the doltish misunderstanding of Mean Streets as adolescent noir that has become a commonplace of film culture." And: "Claude Chabrol's latest movie, Comedy of Power, laughs in the face of all the high dudgeon that typifies today's self-righteous film culture."
Fat City, Bill Gibron reminds us at PopMatters, "marked a new era in [John] Huston's career as the former studio player crafted a motion picture that matched nicely with the early 70s filmmaking renaissance, when writers and directors conceived cinema as art, not just a profit making business enterprise."
Quint at AICN on the escalating nastiness between New Line and Peter Jackson: "I guess now it's personal and [New Line CEO Robert] Shaye is going to do his damndest to fast track Hobbit, which is always a good reason to make a film."
In honor of the late Scooby-Doo creator Iwao Takamoto, Slate runs Chris Suellentrop's 2004 assessment of "the most enduringly popular cartoon in TV history."
How to bring 'em back to the theaters? Matt Riviera's got several ideas, actually.
"The key texts for digital cinema are not movies at all, but rather books," writes Nick Rombes, turning then to the novels of Koji Suzuki and a terrific quote from David Thomas.
RU Sirius remembers Robert Anton Wilson, 1932 - 2007: "For this cosmic cub scout, Bob Wilson was the motherload. Books like The Illuminatus! Trilogy, Cosmic Trigger, and Coincidance killed most of what little dogmatism I had left in me, and opened me up to a world of possibilities as large as space travel and as small as quantum physics." Related: Jeff Diehl, also at 10 Zen Monkeys offers a "Selection of Obscure Robert Anton Wilson Essays."
Reminder: The Contemplative Cinema Blog-a-Thon, which you can follow all month at Unspoken Cinema, is evolving into quite a collection and conversation.
Online snicker tip. T-shirt updates Pulp Fiction. Via Cory Doctorow at Boing Boing.
Online browsing tip #1. Just launched: The Corman Cult.
Online browsing tip #2. "37 volumes, 415 issues, 922 numbers, comprising more than 22,500 pages and 6 million wordforms." Karl Kraus's journal, Die Fackel, which he edited from 1899 to 1936, is now online. Free registration required. Via the Literary Saloon.
Online listening tip #1. The Guardian's "Film Weekly" podcast.
Online listening tip #2. "What happens when five Pixar animators get together to talk animation?" asks Amid Amidi at Cartoon Brew. "The results are in this Spline Doctors podcast."
Online viewing tip #1. Owen Hatherley introduces a clip from Man with a Movie Camera: "A little discussion has been going on between Elusive Lucidity, Kino Slang and Chabert over the application of Jonathan Beller's The Cinematic Mode of Production to Dziga Vertov, and the attempt by Vertov to make the film a partipative medium, akin to the detachment and critical thought Brecht attempted in the theatre."
Online viewing tip #2. Antonio Pasolini at Kamera on Las Hurdes (Land Without Bread): "The film must have been a shock to film goers then unused to seeing such harshness on screen; fearless, raw visuality is one of the lasting factors behind Buñuel's only documentary."
Online viewing tip #3. Norman McLaren and Evelyn Lambart's Le Merle at Rashomon.
Online viewing tip #4. Starlit. It's a feature you may download for free, though if you find yourself enjoying it, its makers request that you send along $5. It's the shareware model applied to movies. Todd has more at Twitch.
Posted by dwhudson at January 13, 2007 5:16 PM