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About NBooth

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

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Profile Information

  • Gender
  • Location
    Wuhan, China
  • Interests
    Literature. Film. Music. The theater. Philosophy. Theology.

Previous Fields

  • Occupation
    Lecturer in American Literature, Huazhong University of Science and Technology
  • 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

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  1. Sufjan Stevens?!? (update: interesting review)

    Surprise Sufjan.
  2. David Peace

    I can't believe I didn't update the thread. Who Is Patient X? The new novel by David Peace. Not a conclusion to the Tokyo Trilogy--which is now scheduled to end in 2019 (maybe). Another thing entirely, though still set in Japan:
  3. Ok, so not-bad-but-pressing-personal-life-stuff obviously kept me from watching this movie before yesterday. Like I mentioned when the film was suggested, I saw this movie (and liked it) a while back. Revisiting it confirmed that response; this is such a clean movie--by which I mean all the pieces fit together like clockwork. It's tight. The second half of the movie, involving the police-work, isn't what some folks would call exciting (it's procedural in the purest sense), but watching a room full of professionals do their thing well always holds a certain attraction to me. I was struck by how neatly the movie divides into two halves. The first half--which could be a movie in itself (a Hitchcock thriller, perhaps)--is, I think, markedly different in tone and focus than the second half, which is (as I say) much more strictly procedural. And I guess there's a corresponding shift between the high of the wealthy shoe manufacturer and the low of the beat cops and such (and, of course, this is a transition Mifune's character makes between halves as well, though he doesn't wind up quite as destitute as the kidnapper). Obviously, there's a lot to talk about here regarding class issues, and the way the movie ends--abruptly, with the kidnapper (now killer) breaking into hysterical screams--suggests that Kurasawa is at least as interested in that aspect as he is in the cop or thriller elements.
  4. Murder on the Orient Express (2017)

    Here's my piece on MOTOE, which is really about Branagh's Poirot. One thing I didn't get a chance to explore was the way in which, like the most recent MAGNIFICENT SEVEN remake, this movie shifts the races of several characters and attempts to use that shift to comment on contemporary racial anxieties. The problem, of course, is that the generic demands of the detective story are different, so it's hard to pull off what MAG7 did.
  5. Justice League

    I've blocked it from my memory, so I could be wrong. Looks like it's about manipulating markets, though.
  6. Justice League

    The first two had Luthor going for real estate, though it isn't exactly core in II. RETURNS has the New Krypton thing. MAN OF STEEL and JUSTICE LEAGUE are both about land-grabs on a global scale. So, arguably, that's five.
  7. Justice League

    Oh, and this is by my count the fourth movie featuring Superman to center on some sort of real estate grab.
  8. Justice League

    With the exception of Gadot and a few fleeting seconds where Cavill shows what a great Superman he *could* be with a decent script, this movie is a total disaster. It fails in so many basic ways (like, introducing the villain and building tension and maintaining tonal consistency) that it should be taught in film school as a cautionary example.
  9. Murder on the Orient Express (2017)

    I'm going to try to come up with something long-form about this movie, but for now: this is a film that benefits *tremendously* from lowered expectations.
  10. Murder on the Orient Express (2017)

    If I'm not mistaken, this just opened in China, so I'll be seeing it on Monday.

    I have The Entire Mystery. From what I can tell, the Criterion blu-ray essentially replicates the extras in that set (though it's got the essay! of course). There were issues with sound in some pressings of that set, but I never noticed any problems with mine.
  12. Rian Johnson's Star Wars Trilogy

    I need to rewatch it. It's been a couple of years and I want to see how it holds up.
  13. Rian Johnson's Star Wars Trilogy

    Counterpoint: the Red Riding trilogy.
  14. Rian Johnson's Star Wars Trilogy

    As dubious as I've become about DisneyWars, this is exactly the direction they should take. Not more Han Solo/Boba Fett/Pruneface spinoffs. If Johnson wants to hear my ideas for a noir flick set on Coruscant during the Clone Wars, he can feel free to reach out to me.
  15. I burned out on Lord of the Rings a while ago, so I don't have a dog in this fight. But given the ubiquity of the movies (there's still media being produced based on the films' aesthetic!), they're going to have a long row to hoe if they want this series to be judged on its own merits. OTOH, reviving or reworking a movie barely a decade after its release is nothing new. I recall that The Third Man ran as a TV series exactly ten years after the iconic Orson Welles film. So this isn't unprecedented.