I would like to see Get Him to the Greek as well. I have a newly developed crush on Jonah Hill.

Butch Cassidy and the Sundance Kid. somehow i'd never seen this before. i caught it on encore westerns over the weekend and really enjoyed it. well, let me rephrase that. i enjoyed it exactly for what it is. some of the historical inaccuracies bothered me, but it's all for dramatic license, right? and aside from something like blazing saddles, it's easily the funniest western i've ever seen ("who are those guys?"). good stuff.

There is a similarly non-essential musical interlude scene in Papillon that makes me think that writers and directors at the time wanted to give audience members time to sneak out and burn one.

Dude is pretty funny. He was on O&A recently, and is legitimately funny despite the Apatow stench wafting around him.

i HAD to go back and see exit through the gift shop one more time.
so good.
the more you see it the more hysterical the second half is (pappie batman).
i cried laughing.

Synecdoche, New York. even though it felt like i was watching something important, this just didn't grab me. i was looking at my watch every few minutes. i usually enjoy kaufman's stories, but never have i disliked characters so much.

Going to see this Thursday.

I liked it, but yeah, it was long and well, I'm not sure that you were supposed to like the characters. From what I remember from seeing it in the theater was that it showed what can happen to artists when ego/fame are introduced and subsequently unchecked even on a small scale. I'm not sure that I could sit through it again, but I remember feeling very impressed by the overlayed mazes Kaufman created that created the effect of holding a mirror image of a mirror with each "mirror" containing a different version influenced by the original.

Saw it. I didn't really like Thierry, but I'm pretty sure that should be a common reaction. It's a multi-layered "documentary" that is meta, self-referential, educational, funny and then with the introduction of Mr. Brainwash, pretty annoying. I'd recommend if it's playing in your 'hood or just wait for it on rental.

Toy Story 3. Absolutely incredible and just about perfect. It's been a long time since I've seen the others, but I'd still say that this is probably the best of all three Toy Story movies and one the top-tier Pixar films. Technically, as always, they are peerless and make some of the most difficult feats in CG animation look effortless. There is not a wasted second is this film, not one tedious moment. I think it's miles better than Up in that none of the central action/conflict felt like obligatory kids' movie/animation stuff. Obvious cliff-hangers and such served as great character moments and all helped build to the really satisfying and moving end. I know a lot of people aren't in a big hurry to see another Toy Story sequel, but you absolutely should be. You won't see a better movie this summer, especially one coming out of Hollywood.

Yeah, I pretty much agree with this. In spite of some fairly unsympathetic characters, I found this pretty mesmerizing. I've actually been considering purchasing it so I can give it a few more viewings. Probably my favorite of all of Kaufman's efforts because I think it's the one where he takes his ideas the farthest, and it yields the biggest dividends.

The A-Team
Better than I expected. It is just flat-out a good (damn good) action flick. Brainless, loud, fun. It's been a while since I've been to one of these and I had a great time. Of course, it is more fun if you are familiar with the original TV show -- you get all the inside jokes and such. But, it works all by itself on its own merits for non-fans, as well. If big explosions and wisecracks are what you're looking for, you could do a lot worse.

The guy who played Murdock was awesome, and completely a perfect fit for the role.

Sidenote, if you haven't seen the film--stay til after the credits

I think that was ole whatshisface, the main character in District 9...?

DAMN!!!
Missed it.

Yeah, but I haven't seen D9 yet...

Young Brendan lives in a remote medieval outpost under siege from barbarian raids. But a new life of adventure beckons when a celebrated master illuminator arrives from foreign lands carrying an ancient but unfinished book, brimming with secret wisdom and powers. To help complete the magical book, Brendan has to overcome his deepest fears on a dangerous quest that takes him into the enchanted forest where mythical creatures hide. It is here that he meets the fairy Aisling, a mysterious young wolf-girl, who helps him along the way. But with the barbarians closing in, will Brendan's determination and artistic vision illuminate the darkness and show that enlightenment is the best fortification against evil?

The kind of introspective road film plenty of aspiring auteurs would probably like to make but few can pull off, "Bass Ackwards" follows a floundering hero without floundering itself, and should find a few soulmates on the fest circuit (it hits VOD and DVD on Feb. 1) while earning filmmaker/star Linas Phillips a certain kind of cred for follow-up projects.

In the spirit of early Wim Wenders and the pre-"Slacker" Richard Linklater film "It's Impossible to Learn to Plow by Reading Books," the picture offers the barest plot necessary to get its protagonist (Phillips, evidently playing himself) on the road: After being gently kicked out of his friends' Seattle apartment and getting rebuffed without explanation by a would-be girlfriend, gentle-faced Linus finds himself the owner of a modified VW bus, heading toward his parents' Boston home to regroup.

Even by road-film standards, the movie downplays plot, and viewers who don't settle into its wavelength pretty quickly will find it a bore. But the chance meetings Linas has along his route provide both odd comic relief (Jim Fletcher, as an apparently homeless man who invites himself to join Linas for days of travel) and the occasional affecting moment of grace: In a memorable sequence, Paul Lazar plays a gas station attendant nursing some deep emotional wounds.

Working on the fly but producing good-looking footage, Phillips and his small team capture a string of cheap motels and barstool encounters that lend themselves to the character's on-the-fence emotional state. An especially good instrumental score by Tara Jane O'Neil and Lori Goldston strikes the right mood, helping the audience stay alert to the road's small pleasures while we root for our tour guide to find something before his van finally goes belly-up.