Seen Anything Good Lately

December seems to have forty percent fewer livable, workable hours than any other month. Now that Christmas is gone and my dog’s obedience training is coming along nicely, I’m hoping to do a few things: get back to the blog regularly and catch up on all the movies I haven’t had time to go see lately:

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Moving Pictures

The Film MovementThe Film Movement is an idea with a lot of promise: once-monthly distribution of truly independent films on DVD or VHS to subscribers via U.S. Mail. “Film Movement scours the world’s top festivals to bring members 12 outstanding films each year.” One day we’ll be downloading our booty from these kinds of clubs and storing it on massive personal hard drives, but for now, the US$20 per month fee seems like a reasonable price to pay for a hard copy. The first movie ships in December.

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Death of a Party

24 Hour Party PeopleOh yeah, so two days ago I saw “24 Hour Party People,” Michael Winterbottom’s chronicle of Manchester impressario Tony Wilson and his Factory Records empire.The trailer was half wildly promising and half very worrisome, but I’m happy to say that the former part won out, thankfully. “24 Hour Party People” is consistently hilarious and restlessly inventive, engagingly manic and deeply comic. I had a great time watching it. And if director Michael Winterbottom fawns a little too much over the Ian Curtis character, the movie is still loaded with far fewer pretensions than the average pop history movie.

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No-No-Notorious

Notorious C.H.O.On a whim, I went to see Margaret Cho’s new concert film, “Notorious C.H.O.” on Wednesday evening. It’s frequently hilarious and I admire the nose-to-the-grindstone way she has rebuilt her post-“All-American Girl” career. I didn’t realize until arriving at the theater that it was opening night, or that Cho would be there in person, or that she was going to be actually standing at the theater door, greeting moviegoers and taking each person’s ticket. It was a cute gesture.

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Report

Minority ReportI saw “Minority Report” over the weekend, and was pleasantly surprised by most of it, though it falls apart in the fourth act (that’s a joke). I’ve never liked Spielberg’s work all that much, but I admit that he’s created a real vision here. If nothing else the movie, set in the year 2054, is filled with hypothetical user interfaces that are beautifully executed — for a change in a Hollywood film, they’re interfaces that actually look like they were designed by real designers.

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