Wednesday, October 27, 2010

I Don't Like It: Rocky Horror Glee Show

Guys, I know you're expecting me to rant and rave about Glee's Rocky Horror episode.  But, you know, I feel like there were so many things wrong with it that it really just does all my work for me. Ugh. It was dreadful.  Really a blasphemous abomination.  Alright, fine, I can't hold my tongue, I will quickly run through some of the endless reasons Glee's RHPS attempt fell flat. 

1.  These kids did not understand a single thing about the tone, timing, or spirit of the show.  85% of the speaking parts were butchered mercilessly and camped up not in the self-aware way the film manages, but in this really sugary, insipid way that suggested most had, in fact, not bothered to watch the damn movie.  So many of the lyrics were not landing on the notes they should have landed on.  Also, they were trying to gussy them up, and instead making it off key.  I could have died when I heard Artie say, properly and blandly "It's just a jump to the left".  That kid?  DOES NOT GET IT.  Quinn straining the Magenta parts of the "Time Warp"? DOES NOT GET IT.  No clue what they were doing there.  Where's the cheesy Transylvanian accents?  Why isn't Brittany's Columbia pitchy?  That's the whole point.

2. The tailoring of song lyrics.  "I'm just a sweet transvestite from sensational Transylvania"?  No.  Nearly all of "Touch-A, Touch-A, Touch Me" = completely edited.  Heaven forbid they say "heavy petting".  Eegads.

3. Mercedes as Frank.  You're kidding right?  Maybe I'm wrong, but in the staging of Rocky Horror, if Frank is played by a woman, shouldn't she still be pretending to be a man dressed as a woman?  If you're singing "Sweet Transvestite" dressed in woman's underwear and changing the lyrics to "I'm not much of a girl by the light of day" (instead of man), what part of that suggests her transvestism?  She's more of an exhibitionist, I'd say.  Also, her voice is incredible, but not for that song.  Good lord.  That song marks what's pretty much my favorite part of the movie.  Tim Curry's delivery is divine.  It's cocky, cheeky, and full of fey facial expressions.  Mercedes can't do this.  She took it so seriously it was ludicrous.

Sidenote: The reason Mercedes wants to be Frank is because in a song he sings "don't dream it...be it".  Wow. Just, wow.  Way to not understand your character's motivation and instead re-appropriate it for your self-motivational cheese fest.

4. The adults were totally inappropriate.  First, they put John Stamos (who is not even faculty at the school) in their school play as Eddie.  A fairly harmless character, aside from the fact he's a fully grown male cavorting with scantily clad teenagers.  Then, Will Schuester, their teacher decides that in order to impress OCD peer Emma Pillsbury, he needs to take over the role of Rocky and don the gold lame man panties.  What?  His reasoning?  "It's not an appropriate role for a teenager to play".  Hmmm.  Well, yeah, I guess that means that as the sexual object of desire for at least two of the characters, it's definitely a great, super appropriate role for their teacher to play.  WTF!? Creepers.  Creepers all of them!

5. They manage to build Rocky Horror up and then totally tear it down in the span of 30-minutes.  It's basically used as an excuse for bad behavior by the adults and there wasn't a single thing logical about the show.  Yes.  It's illogical in a completely different and much less satisfying way than the actual Rocky Horror Picture Show.

Bad. Bad. Bad.  If they actually let Ryan Murphy remake the movie itself...we're going to have a problem.

Novelty Treats: Movie Map

This is a map of the United States.  If you click on the map, you'll presumably be taken to the full-size, legible version of said map, but if not...click here.  Created by Subtonix, this map pinpoints which movies best represent each of the 50 states.  I have no idea what standards they were using to determine this, but I'm going to have to take it personally and assume that this means everything in Illinois is pretty much like The Blues Brothers.  Congratulations, Michigan, your life is Robocop.  Missouri?  Oh boy.  I'd be a little upset if I were you.  Honestly, this map doesn't make sense.  It's sort of like when bands mention the name of a city and everyone cheers; you will click on this map cause something about it is supposed to clue you in to part of your identity.  Really, though, all it will tell you is a film that happened to take place near where you're from. 

Blues Brothers is a great movie, but I can't say I relate to it.  Seriously.  It's fabulous, but I think tourists take more Blues Brothers from their Chicago visits than the natives.  If I were making this map, I probably would have chosen a John Hughes movie.  Ok.  Not probably.  It definitely would have been Ferris Bueller's Day Off.  That may not have been the exact simulacra of my life, but much of it felt tangible.  It could have happened.  This much of it did:

I suspect that for most American teenagers, something about the John Hughes canon rings like an idealized truth.  Hughes didn't take the Hollywood high school fantasy too far out of reach.  His cast of characters, even when they were supposed to be stereotypes (The Breakfast Club) were anything but, they were human.  They looked, generally, like people you could conceivably know (though I must say I never met anyone quite like James Spader's Pretty in Pink character Steff until California transplants started rolling in at college), and acted much the same.  Maybe it's just me, but something about being a suburban teenager just a few towns over from where so many of these stories took place made them feel that much more real.  There's a weird sense of ownership that comes from being a Northeastern Illinois youth post-Hughes.  These movies, and so many of the movies that continued that tradition (Mean Girls), feel like part of our collective identity.  We grew up within the bubble of what it means to be an American teenager to the entire world.  Am I overstating it?  Maybe.  But I don't really think so.  Illinoisians: care to agree/disagree?  Is there a movie you think better reps the state (don't say Dark Knight, it doesn't count if it's a fictional city)? 

[via /film]

Monday, October 25, 2010

Seen & Heard: Duck Sauce

As someone who was raised by a mother with a great love for Funny Girl, I am loving Duck Sauce's total non-sequitor, guest-filled dance track "Barbra Streisand".  What does it have to do with Babs?  Well, they repeat her name quite a bit.  Otherwise, absolutely nothing.  Still, I'm just totally amused by the absolute randomness of the song.  Pretty great.

Do You Have 35 Minutes?


Do you like Kanye's music?  Do you like Kanye's style as of late?  Well, then, it's time for you to watch Mr. West's 35-minutes short film "Runaway".   It's....gorgeous.  Not only that, but it has slow motion explosions.

I'm really excited about this album, actually.

The Rent is Too Damn High


Emma Stone hosted SNL and she was alright in spite of the fact that most of the show was tepid at best.  None of this matters, however, because Weekend Update stole everything when A) Bill Hader stopped by as club hopping Stefon, and B) Kenan Thompson killed it as real life political hopeful Jimmy McMillan of the Rent is Too Damn High party.  If you've been living under a rock this past week, yes, this is true life. The rent is too damn high.  Jimmy McMillan looks and sounds pretty close to that impersonation and he was indeed part of the New York gubernatorial debate.  Thompson nailed it.  If you see nothing else from last weekend's episode, this is the one to watch.

Habits I Have...



Halloween is pretty much my favorite time of year.  I get festive in my various ways.  I may not throw down loads of dollars to put severed limbs and audio animatronic "statues" in my yard, but I do a lot of celebrating.  For example: I visit the Halloween pop-up retail outlets like literally every three days for the 2-3 weeks prior to October 31st.  I have been to about 4 Halloween stores this season and, honestly, I don't even know what I'm looking for.  I just like being in the Halloween store.  Another thing I do is eat a lot more sugar than usual.  All candy becomes a free pass because I have a religious reason to consume it and that religious reason is Halloweenism.  I eat sugar like all day.  It is during this time that I have cupcakes for lunch.  Then, you see, I watch a lot of horror films.  Mostly, prior to Halloween I watch horror films I've already seen (btw: have you read the list M. and I are running on Love and Squalor?).  Then, on Halloween, I watch like a dozen ones I have not seen.  Marathon party.  Where it's at.  Also, I watch Rocky Horror.   Also, I quote Rocky Horror.  I fret about costumes I should have been planning ages ago and finally throw something together a couple days before I need to be dressed up.  The number of iTunes plays granted to Sisters of Mercy, Bauhaus, and Sam the Sham and the Pharoahs' "Little Red Riding Hood"  goes up exponentially.  I get gothy.  

My strangest personal Halloween tradition is not really a tradition but more of a compulsive thing that happens.  I can't control it.  Confronted with a blank internet window or standing in front of my closet in the morning, it just happens.  During this season, I watch the opening sequence from The Hunger like a million times.   I like The Hunger as a film, sure, but I love the first 10 minutes or so.  It's easily one of my absolute favorite film openers and I do believe that the rest of the movie has trouble maintaining the mad style/editing promised in its initial glances.   When I think of vampires, I think of the opening of The Hunger.  When I think of 'goth', I don't think of mall trolls, I think of The Hunger.  When I listen to "Bela Lugosi's Dead" (which happens often enough), I think of The Hunger.  Long before the Edward Cullens and Sookie Stackhouses of the world came into existence (well, long by like 2-3 years?), my notion of the vampire was stamped and sealed with The Hunger.  Vampires should be bloodlusting, seductive pack animals personified by David Bowie and Catherine Deneuve.  They should be dressed in black with fabulous sunglasses and lots of electric blue lighting.  These things just make sense.  That said, the opening scene of The Hunger is a great piece of work.  The cinematography is enough to keep me defending director Tony Scott through any number of flops.  It's a stylistic inspiration and, at Halloween, sets exactly the right tone for every day of my week.  I mean, if I ever actually go to a goth/industrial club and it's not just like this, I'll cry.  The illusion will be shattered.  There will be no Santa Claus.  So, of course, I had to write about my addiction here and force it on to you.  Deal.  While I was writing this I got distracted a few times by the first three minutes.  Three minutes.  They do everything.  Even the font is perfect....!

Friday, October 22, 2010

I Really, Really Don't Like It (At All): MTV's Skins


In August of 2009, I posted the news that MTV would be adapting the UK teen melodrama Skins for American consumption.  At the time, I was not pleased.   Now, after seeing the teaser promo for our very own version of Skins, I'm still really, really, insanely displeased.   The clip is, quite literally, a virtual showcasing of scene for scene the UK pilot, except...you know, with absolutely none of the snarky heart that makes the original the wholly addicting product it is.  Also, as previously mentioned, TV regulations dictate that a basic cable station like MTV cannot do Skins the way it's done on the original.  The original is, frankly, raw.  It doesn't shy away from verbal crudity, depictions of nudity, sex, and a hearty dosage of drugs.  MTV can only do a handful of these things without resorting to blurry obstructions, over editing, and bleeping; which means, essentially, that they likely won't do them at all in a scripted program.  Basically, MTV got the trailer wrong and is going to get the actual show even more wrong.  Way wrong.  The first two seasons of Skins are an insane, dizzying trip that effortlessly mixes real emotional risk and melancholy with colorful, campy devil may care attitude.  They're funny, even as they're devastating.  MTV would be better off stripping down the originals and rebroadcasting them since (with a cast that includes Nicholas Hoult and Dev Patel) this is one instance of something that should really only be done once.

Sigh.  The one thing they managed, apparently, was to cast actors who actually look like teenagers.  Other than that?  No.  No.  No.  Ugh.  They even copied the promo art for the first season.  I'm sorry, this is just not acceptable.  When you have to do that, there's really no excuse not to just go for the real thing.

Thursday, October 21, 2010

Things That Are Gross and/or Weird.

1. GQ takes pervy photographer Terry Richardson, a few members of the cast of Glee, and decides that what Glee is is definitely, and predictably, a schoolgirl porn film.  What I have gleaned from this is primarily that it's fairly uninspired, a little tacky, a little gross, but I did want to buy over the knee tube socks and will have to (once again) go to the Halloween store.  Also, Lea Michele cannot contain the vamping no matter how hard she tries.  She stole that whole photoshoot from her castmates.  Geez.  That skievy kid on Glee would have a field day with these shots.   People who fool themselves into believing Glee is family-only television are freaking out about this photoshoot, but, hello...these folks are in their 20's.  They do what they want.  And what they want to do is pose a lot with open mouthed sexy face. 


2. Also gross?  This necklace. Yes, it's supposed to look like sperm.  It's a $420 "Pearl Necklace" by Leah Piepgras made from sterling silver that.. 
"is actually an accurate representation of semen. It is a visual marker of chaos turned perfection through an act of beauty and lust. Pearl Necklace is a physical reminder of a fleeting moment of pleasure."  [via Jezebel]
Wow.  Just, wow.  I hope this woman is making an art fair killing selling these 'unusual shapes' to older ladies who might not associate the term with the physical reminder of a fleeting moment of pleasure.  Classy.


Yes, I just lumped these two things into the same blog post.

Wednesday, October 20, 2010

Seen & Heard: The Ting Tings



Guys, the Ting Tings are back!  The video for the UK duo's new single "Hands" has dropped, and is of course in the synth pop direction of all the best pop music from the last year or so.  Their second album is expected to score an early 2011 release, so for now all you've got is this first, Calvin Harris produced taste.  I have to say, their first album was a rabid earworm hit machine of tracks that did not leave my head, but I've grown pretty exhausted with it.  Glad to see they've arrived back on the scene just in time...  

Novelty Treats: Even Elvira is on Christine O'Donnell's Case.


Elvira is you.  She's totally a witch.  I'm totally filling in her name on my ballot.  I don't need to say anything else, right?

Photo Lab: Luke Perry at DragonCon

I'd never heard of DragonCon before, but I don't have to look it up to know what it is.  This, though, is not important.  What's important is that for reasons unknown, 90210-er Luke Perry was at DragonCon getting portraits taken with a diverse group of fans.  You might not think you're interested.  At first, having been a little too young for Beverly Hills 90210, I myself was not interested.   Then, I saw the portraits.  They're sort of great in that way that random internet curiosities are great, and are probably the cover of Weezer's next album for absolutely no reason other than Weezer loves random internet curiosities.  See all 21 of them here.   

Monday, October 18, 2010

Review: Red

Red is a movie about John Malkovich stealing scenes and Helen Mirren firing a sub-machine gun and looking like a badass.  Alright, so that's not what it's about at all, but once you watch it I'm sure you'll agree that everything in between pales in comparison to the events just described.  Adapted from the DC comic by Warren Ellis and Cully Hamner, Red is the senior citizen response to what must have been the desperate Hollywood call for espionage thriller submissions in 2010....

Saturday, October 16, 2010

Review: Black Swan

Darren Aronofsky, who has wowed us with Requiem for a Dream, The Wrestler, and The Fountain, is pulling in frenzied, rave early reviews for his ballet-centric thrill ride Black Swan.  The film will be released nationally in early December, but has been riding high on the festival circuit where critics and bloggers have taken to pronouncing the film, and Natalie Portman's performance, as all sorts of brilliant.  Portman plays Nina Sayers; a shy, emotionally vulnerable ballerina with a narcissistic, overly protective mother and some implied psychological damage.  Nina's life is ballet.  She lives and breathes it.  Her days are little more than practicing, puking, and moving to and from Lincoln Center dreaming of the day she will dance Swan Lake as The Swan Queen.  Miraculously, when her New York Company's prima ballerina (Winona Ryder) is forced into early retirement, Nina is given that chance.  She embodies the White Swan, but ballet director Thomas (Vincent Cassel) insists he does not yet see the loose seductiveness of the evil twin Black Swan in Nina's performance.  Nina, possessed by a desperate quest for her own perfection, becomes fixated on Lily (Mila Kunis) a newcomer in the dance company whom she associates with the malicious Black Swan and who thus becomes both threat and obsession.  In many ways, what Aronofsky has done is adapt Swan Lake itself for 21st century, urban consumption.  A little Red Shoes here, a little Showgirls there, just a touch of Suspiria with a dose of MDMA.  The ingredients make for a devil of a film.  Black Swan is a fragile, delirious fairy tale that effectively toes the line between real and unreal.  Nina suffers for her art.  She pushes herself to her breaking point.  For the audience, however, it's hard to know where that breaking point lies.  Is Nina's experience fact or fiction?  Do we lose her early on?  Are we witnessing an elaborate fantasy or a chilling reality?  Does it even matter?  .......



Novelty Treats: Little Ant People



Pretty little sped up video of the Coachella Festival by Sam O'Hare with music by Human.  All the people buzzing about like busy little insects building tents and parking toy cars.  Lovely.  It doesn't look quite real.

[via Coute Que Coute]

East Coast vs. West Coast: 30 Rock Live



I know people are going bananas over 30 Rock's live show experiment, but I honestly wasn't thrilled with it.  Nice novelty, sure, but the cringe won out over the laugh.  Every bit with Kenneth in it = huge shudder.  I'm so very pleased that 30 Rock doesn't usually come with a laughing studio audience, crummy camera work, or Julia Louis Dreyfuss.  That's it.  For those curious, however, as to the discrepancies between the live East Coast take and the live West Coast go (that's right, they did it twice. It was quite literally live for all of America), a friendly youtube user has compiled a compare/contrast of Thursday's highlights.  Parnell steals it here, with a side of Hamm (East wins with Parnell, West with Hamm.  Thems my votes).  Spoiler alert: I'm buying Leo Spaceman's Lovestorm for everyone this Christmas, obviously.  No surprises here. 

Trailers: Restless


If you haven't gotten the memo, Mia Wasikowska is the girl this year.  If we can agree that Carey Mulligan was the girl last year -- which I think we can -- then we should also agree that Wasikowska has out Mulliganed Carey Mulligan; the girl pulled in Disney's Alice in Wonderland and The Kids are All Right this year and is swinging in for round two with the title role in Jane Eyre and a potential twist on the manic pixie dream girl in Gus Van Sant's RestlessRestless is a relationship story filled to the brim with funeral crashing, mortality obsession, and veteran ghosts.  With its looks and pedigree, we can hope Restless works in the spirits just right without resorting to saccharine Charlie St. Cloud antics.

Photo Lab: International Posters for Black Swan

Empire got their virtual hands on a set of four graphically gorgeous international teaser posters for Darren Aronofsky's Black Swan.  The poster art aficionado is itching to run out and find a place to order these two, frame them, and move somewhere with lots of empty walls (somewhere with a whole 'nother room for different 'art' like this scary beauty).  Love the vintage feel that lands them somewhere between 40's' propaganda and 70's book jacket.  Make sure you check out the other Black Swan designs on the Empire site, but make doubly sure you return here over the next day or so to read my forthcoming, super early review of the film itself.  That's right, nerds, I've seen Black Swan.  Thanks Chicago International Film Festival.
  

Something Not About Wes Anderson but instead about Tommy Wiseau...

Hi doggy! You like The Room?  Yeah you do, because you're Tommy Wiseau's favorite customer.  Tommy Wiseau made a horror short.  That's right.  Horror.  Because you're Tommy's favorite customer, you can watch it online in full.  It's called The House That Drips Blood on Alex.  You can only watch it if you wear five belts and invite all of his friends, but you already did that, right?  Yeah you did, because you think of everything.

Novelty Treats: The Life Undergraduate

Analecta, the University of Texas at Austin's undergraduate literary magazine, dug up a short story penned by writer/director Wes Anderson during his formative years.  The story is called "The Ballad of Reading Milton" and is loaded with the sorts of philosophical meditations and interludes that college students fresh out of their 101 courses do best (I should know, I've got a couple years of campus lit mag editor hidden in my bag of tricks).  The scans from 1989's Analecta XV are online in full, so if you too share an affinity for the postured dweebery of the fantastic Mr. Anderson, you should check it out at the lit mag's website.  One thing we can say: it reads exactly like an undercooked Wes Anderson movie, or, the short story Jason Schwartzman's character wrote about his father's funeral in The Darjeeling Limited.  You can see the early stages, but I'm glad Anderson transitioned into film.  Either way, it's a significant improvement when contrasted with James Franco's short, muddled fiction.  

[Analecta via Videogum]

Tuesday, October 12, 2010

Wes Anderson + Roman Coppola Sell You Beer...

I hate it when it starts feeling like most of my posts are viral videos. Ah well. Here's the Stella Artois ad Wes Anderson and Roman Coppola put together. You didn't ask, but I'll tell you, it feels a lot more like a Coppola endeavor than an Anderson one. The 60's bachelor pad motif is pure CQ.   

Novelty Treats: My So-Called Double Life



This girl can transform herself into Jared Leto. All I really want to know is why this is talent she learned that she has.

Monday, October 11, 2010

Banksy + The Simpsons

Graffiti artist Banksy directed and storyboarded the opening credits sequence on last night's episode of The Simpsons.  It's without a doubt one of the most interesting things the show has done in ages and is rumored to be a response to claims that Groening and company were outsourcing the show's animation.  While the lead in through Springfield is tagged and clever, shit gets real during the couch gag, when we're pulled through a dismal sweat shop filled with surreal horrors.   Note to the public: putting aside the Ke$ha opening a while back, it appears The Simpsons is still perfectly capable of pulling off the meta, daringly subversive social commentary thing.  Entertainment Weekly has as interesting interview with the show's executive producer, Al Jean, that sheds some light on the back story.  Check that out here.

Smell Like A Monster / Get the "Power"



Two videos that aren't necessarily news anymore, but which I failed to cover last week.  The first is the resurgence of Sesame Street's Grover as the Old Spice dude which, if I were a small child, I would be totally befuddled by.  This is the "Over, Under, Around, and Through" of the twenty first century, kids, and it is awesome.  I have recently decided that I kind of really want to work for the Jim Henson Company.  Seriously.  I think a lifetime spent anthropomorphizing everything and speaking to myself in strange voices makes me qualified, right?  Yes.

The other video is Kanye West re-calibrating the notion of hip-hop back-up dancer for his brilliant, music video quality performance art live on the Bryan Cranston episode of SNL.  Kanye West may actually be Tracy Jordan, but he is also still a purveyor of jams.  I really love this staging of "Power", it's the first thing that hasn't made me space out during an SNL musical act in a long while...

Life is Apparently Just as we Know it....

From the looks on Katherine Heigl and Josh Duhamel's faces, they just got finished reading Roger Ebert's brutally sarcastic, short & sweet summary of Life as We Know It...and they are not impressed.  I, meanwhile, encourage you to read it.  It is hilarious, and validates all of my reasons for having no interest in this film.  Awwwww.

Things That Will Only Work Once...

So this little nine-year old British girl, Beatrice Delap, wrote a letter addressed to Jack Sparrow requesting assistance in a mutiny against her elementary teachers.  The result?  Jack Sparrow came and did just that.  Johnny Depp, who has been filming bits of Pirates of the Caribbean: On Stranger Tides nearby, decided the thing to do upon receiving this letter was to call up the school 10 minutes prior, then show up in costume (with some other pirates) to assist young Beatrice.  What.  You're telling me this works?  Come on.  If I'd known that, I would have done this years ago. 

Regardless, this is a reminder that even if The Tourist is dreadful, Johnny Depp appears to be a generally pretty great human being actor type.  This is clearly beyond awesome and Beatrice is going to be like the coolest kid at school forever (her postscript "we have a plentiful supply of rum" indicates that she may already be).  If I were 9 and this happened to me, I would be very silent, pale white, and I think I might have a heart attack.  Actually, if it happened right now I might have a heart attack.   Lucky child...

[source]

Where Oh Where...

Man, I've sort of shirked my bloggy responsibilities over here the last week or so.  While I have pretty valid excuses for my absence (seriously, I have a doctor's note, a very very rancid tasting nasal spray, and about 400 pictures from the wedding of two awesome people), if you've been missing me, you should have been reading my entries in the ongoing 31 Days of Halloween list at my other blog.  Lesson number one: if I'm not here, I'm probably finding time to be over there. 

Sidenote: this still from The Hunger makes me feel that I should tell you that yesterday in my attempt to recover from all of last week I watched the latest Criterion addition; Oshima's Merry Christmas Mr. Lawrence.  You know what the best part of that movie was, right?  Yeah.  David Bowie.  Even better than that?  David Bowie eating flowers.  Better still?  David Bowie dressed up like a boy from school.  Just sayin. 

Saturday, October 2, 2010

Review: The Social Network

What is there that can be said that has not already been said about David Fincher's fanatically discussed, gigantically hyped Facebook film The Social Network?  Answer: not much.  This film had the potential to disappoint tremendously.  Trailer after trailer, poster after poster, blurb after blurb, my expectations of this particular film had been growing to nearly unscaleable heights.  Fincher's films have a tendency to do that with me.  I was going absolutely berserk pre-Curious Case of Benjamin Button, and while I am indeed amongst the comparatively small number of that film's 'friends', I was still on the underwhelmed side of that fairy tale.  With The Social Network, I kept trying to remind myself that I should curb my enthusiasm; that in spite of the lush darkness and clever quips of the trailers, the potential to be a tiresome, talkative business thriller was still there.  Ten minutes in, any concerns I had had vanished into the Trent Reznor scored ether...

Review: Let Me In

Any proper discussion of Let Me In must begin with Let the Right One In.  The Swedish original is now a mere two years old.  Two years, for a foreign horror film with a massive underground following but a barely there presence in the mainstream, is not very old.  Let the Right One In is practically shiny new.  Past that, it's also solidly constructed, well rated, and held in high regard by those who have seen it.  Its only flaw, apparently, is that in America, it is a foreign art house film.  In America, we can't abide too many subtitles.  In America, we would really prefer a director with good taste to remake foreign blockbusters before we opt to consume them.  Speak English; please and thank you.  This is why we've received a strikingly similar remake of Let the Right One In, this is why David Fincher will soon remodel the already very good Swedish version of Girl with the Dragon Tattoo.  It's frustrating, and after seeing Let Me In in a crowd that seemed more prepared for horror and gore than meditative, starkly severe child drama, I can tell you that I think there's a reason why some foreign films are safer in the art house, even when the end product is, well, excellent...



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