
--- A Pretty Pict, Sure - Hey, Neil Marshall's Centurion, starring the studly Michael Fassbender, is available on demand starting tomorrow! It's not out in theaters until August 27th. I still don't really understand this model of releasing things, but I guess I'll just roll with the future like a dutiful geek. Anyway AICN has a chat with Marshall up today about the film. Here's my review. It's a good, manly man time. Rah!

--- The Kids Are Not Alright - I'd never even heard of kiddie-rape torture-porn flick A Serbian Film until Rich at FourFour just reviewed it, and I must admit it sounds hideous and unwatchable. Yet all is not for naught because it gave Rich the need to write this, which is I think something to live by:
"I think the first rule of metaphors must be: DON'T LET YOUR METAPHOR RAPE A BABY."

--- Brad's Delicious Brains - Speaking of zombies, Brad Pitt's production company has had the rights to Max Brook's World War Z for awhile - now comes word that Brad wants to star in it, which isn't too shocking. That link has info on exactly how they're turning the book - which is an "oral history" of a zombie apocalypse, meaning a series of interviews with survivors - into a narrative.

--- Ryan In A Box - Here's a second trailer for Buried, the movie that in my dreams spends ninety minutes shooting nothing but Ryan Reynolds crotch. I haven't watched either trailer yet but I'm guessing my dream's already been proven faulty by the footage shown in them alone, right? What a shame, what a shame...

--- Orlando's Dawn - Sally Potter's 1993 film Orlando, which pretty much introduced Tilda Swinton to the film world beyond Jarman acolytes - is getting a re-release this week and Slate's got a pleasant little piece looking back on it, asking this interesting question:
"In many ways, it helped to bring art back to the art house, so that today's quality-film landscape doesn't just include gritty, low-budget dramas of social import but movies that mix high art and high camp in challenging and pleasurable ways. You can see the impeccably-designed vignettes of Orlando in Wes Anderson's filmed dioramas, or in Sofia Coppola's new-wave Marie Antoinette. Without Orlando, would Todd Haynes have been able to make his arch, stylized masterpieces Far From Heaven and Velvet Goldmine?"
It's not really a through-line I'd considered before but I'd say it's certainly got some merit. They point out that Orlando was far more successful than I'd realized - it made 5 million dollars! Can you imagine a movie like Orlando making that kind of money today?
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