NBooth

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About NBooth

  • Rank
    Collector of Oddities
  • Birthday 01/23/1987

Profile Information

  • Gender
    Male
  • Location
    Hanceville, Al
  • Interests
    Literature. Film. Music. The theater. Philosophy. Theology.

Previous Fields

  • Favorite movies
    Top Ten (descending order):The Third Man (Reed, 1949) Mulholland Drive (Lynch, 2001) 2046 (Wong, 2004) Vertigo (Hitchcock, 1958) Zodiac (Fincher, 2007) Citizen Kane (Welles, 1941) There Will Be Blood (Anderson, 2007) Raiders of the Lost Ark (Spielberg, 1981) Once Upon a Time in the West (Leone, 1968) The Thin Man (Van Dyke, 1934)
  • Favorite music
    Top Ten (descending order):Bob Dylan,David Bowie,Nick Cave,Brandi Carlile,Josh Ritter,Bill Mallonee,Robert Johnson,Willie Nelson,Van Morrison,The Beatles,
  • Favorite creative writing
    Top Ten (descending order): Tristram Shandy,    The Idiot,    Absalom Absalom!,    Winesburg, Ohio,    Leaves of Grass,    The Adventures of Sherlock Holmes,    Calamity Town,    Our Man in Havana,    Kings Row,    A Sentimental Journey

Recent Profile Visitors

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  1. Bates Motel is back! The new season is actually set a couple of years after the previous one, so the characters are a bit farther along than they were. Nothing really special to add, except that Vera Farmiga is definitely still the MVP here, though Highmore is (of course) very good.
  2. I finally watched the first episode. I'm pretty sure it's not good, but I'm really loving it for its pure flashy/trashiness. It's definitely the Betty and Veronica show, though. In some ways, though, this feels like what would happen if you took all small-town fiction in American history and boiled it for weeks before serving up the concentrate. Then again, I've been living with this stuff for a couple of years now, so everything seems hyper-referential.
  3. There's an adaptation of Richard Wright's Native Son on the way: The story mentions the 1986 movie version with Oprah Winfrey, but there was also a 1951 version with Richard Wright as Bigger Thomas. Both are on YouTube, though I am doubtful of the legality of either upload. Here's a trailer for the 1951 version:
  4. I thought of the same movie, but (since I haven't seen it) didn't want to mention it without knowing exactly how watchable it is.
  5. Angela Lansbury is the Balloon Lady
  6. Jack Graham argues that the movie is actually less ambiguous, in some ways, than the previous movies:
  7. Nonfiction in bold January Green, Daniel. Beyond the Blurb: On Critics and Criticism February Aciman, André. Call Me By Your Name Collett, Nigel. Firelight of a Different Colour: The Life and Times of Leslie Cheung Kwok-Wing Kenner, Hugh. A Homemade World: The American Modernist Writers.
  8. Ignatiy Vishnevetsky:
  9. After that finale, it's safe to say that I genuinely love this show. I'm almost sad there's going to be a second season, because these ten episodes seem to more or less cover all the ground they need to. I would worry about a second season taking the show into House of Cardinals territory, though of course I suppose I should have more faith in the director. Jude Law, though--wow. He's absolutely mesmerizing. I've never really rated him one way or the other--I mean, I've liked some of his stuff, but I've never been in awe of any performance of his the way I am of this, his portrayal of Lenny Belardo/Pope Pius XIII (I should have searched later and seen that there was a "real" American Pope named Pius XIII, a schismatic one, who responded to the Second Vatican Council in a way that reminds me of Lenny). So, yeah. A great show--slantwise and ambiguous in several ways, with a far lighter touch at characterization than one would expect. Lovely to look at, too.
  10. This movie is delightful. In retrospect, the first movie was my favorite in-theater experience of 2014 (combination of being in L.A. and being totally surprised by how fantastic the movie actually is), so I was doubtful that this one could really stick the landing. As it turns out, John Wick Chapter 2 is less surprising but no less entertaining than the first movie. The last big action scene owes an awful lot to a certain Orson Welles movie (let's say Welles-by-way-of-Roger-Moore-Bond) and it's lots of fun. Ruby Rose as the mute assassin is fun. Laurence FIshburne is funny in a way that I didn't quite expect. The rest of the cast is good. And there's a gag where a bit of music I assumed to be non-diegetic turns out to be diegetic, which is fun. You'll know it when you see it. Really, there's no way to spin this into a Deep Consideration of Serious Themes (though that last action scene does invite it); it's a well-built, incredibly fun movie. I'm a fan.
  11. I'm going to have to give this some thought. My bullet-points are generally just the starts of ideas, never fully-developed in themselves. But both this movie and Existentialism are responses to WWII, so there's some potential there. I'll get back to this in the next week or so.
  12. For comparison's sake, here's the trailer to the Clint Eastwood movie. Both films are apparently adaptations of a novel called A Painted Devil:
  13. I nominate the Lynch Dune. ...seriously, though, cultural upheaval would be an interesting direction to go. I can dig it.
  14. Extension should be a good idea. To be honest, this month has been bad bad bad for me, and next month (for reasons relating to the dissertation) will be even worse. Which is why I only got to the movie tonight, on the final night of January. Preliminary responses: 1. This is such a 1948 movie. Actually, it reminds me in some ways of The Third Man. Though Monsieur Vincent is set during the period of the Black Death, there's a similar sense of a world-gone-wrong, one in which the wealthy manage to survive and even thrive while everyone else suffers. And that's directly related, I think, to the post-WWII moment. The physical devastation of the War and the existential devastation of the Bomb strike me as mirrored in the vision offered here of the plague. 2. Speaking of which, I'm curious about how this movie would look put in conversation with the Existentialist philosophers. It deals with a similar sense that the world has suddenly been revealed as essentially cruel, but the direction the protagonist goes is substantially different than those of the Existentialists. The questions about mercy might play in here. 3. There are several moments of breaking-or-nearly-breaking-the-fourth-wall, which might be worth exploring.