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    <title type="text">Short Ends and Leader</title>
    <subtitle type="text">The PopMatters Film Blog</subtitle>
    <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/" />
    <link rel="self" type="application/atom+xml" href="http://www.popmatters.com/pm/feeds/blogs/short_ends/" />
    <updated>2008-05-10T02:40:26Z</updated>
    <rights>Copyright (c) 2008, PopMatters.com</rights>
    <generator uri="http://www.pmachine.com/" version="1.6.3">ExpressionEngine</generator>
    <id>tag:popmatters.com,2008:05:10</id>


    <entry>
<title type="html">The Great Debaters (2007)</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/the-great-debaters-2007/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58458</id>
      <published>2008-05-11T05:45:00Z</published>
      <updated>2008-05-11T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/g/greatdebaters1.jpg"/img> </p> <p> Film fans look to DVD for one thing mostly, and that&#8217;s contextual clarity. We want to understand the artistic decisions made, to get close to the production and feel the organic flow of filmmaker and star, script and screen time, each element adding its own particular aroma and spice to the overall cinematic stew. More times than not, the medium leaves us wanting. The powers that be spruce up a failing film with lots of EPK bells and whistles, but end up giving us any real making-of means. Then there are the instances where a multidisc&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Friday Film Focus &#45; 09 May, 2008</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/friday-film-focus-09-may-2008/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58335</id>
      <published>2008-05-09T05:00:00Z</published>
      <updated>2008-05-09T05:00:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/f/fridayfilmfocus.jpg"/img> </p> <p> SUMMER&#8217;S HERE!!! and for the weekend beginning 9 May, here are the films in focus: <br /> <br /> <div class="imageEmbedLeft"><div class="imageBox"><img src="http://www.popmatters.com/images/blog_art/s/speedracer2.jpg" width="200" height="293" /></div></div><b><i>Speed Racer</i></b> [<a href="javascript:popUp('http://popmatters.com/includes/ratings-music.html')">rating: 10</a>] <br /> <br /> <font size="1"><i>Forget all the curmudgeonly criticism that argues for this movie&#8217;s optical overload capacity - <b>Speed Racer</b> is a modern masterpiece</i></font> </p> <p> Candy colored dreams descend down physically impossible angles, shapes shifting across plains of apparent non-reality while simultaneously simulating real life. Cartoon icons come to life, reduced to clich&#233;d contradictions in a classic tale of good vs. very, very evil.&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">&#8216;Surfwise&#8217; Shines on its Unusual Subject</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/surfwise-shines-on-its-unusual-subject/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58436</id>
      <published>2008-05-09T04:55:00Z</published>
      <updated>2008-05-09T04:55:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/s/surfwise1.jpg"/img> </p> <p> When it hit in the late &#8216;50s/early &#8216;60s, surfing symbolized youth and vibrancy, extreme sporting reduced to sun, fun, and lots of bikini clad babes. But on the fringes of the misdiagnosed fad (it had been around long before Jan, Dean, and the Beach Boys discovered it) were those who viewed the ocean as one big spiritual adventure, a karmic mountain worth climbing and conquering as often as possible. Such a seafaring sage was Dorian &#8220;Doc&#8221; Paskowitz. As one of the sport&#8217;s important pioneers, he left his job as a general physician (and a couple of&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Overplotted &#8216;Redbelt&#8217; is Pure Mamet</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/overplotted-redbelt-is-pure-mamet/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58334</id>
      <published>2008-05-09T04:50:00Z</published>
      <updated>2008-05-09T04:50:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/r/redbelt1.jpg"/img> </p> <p> David Mamet - a name that means theater at its very best. With such plays as <i>Sexual Perversity in Chicago</i>, <i>American Buffalo</i>, and <i>Glengarry Glen Ross</i>, he has literally helped the arcane aesthetics of the stage grow up and mature. With dialogue that crackles with witty profaneness and a keen ear for newfound colloquialism, his efforts are usually a feast for the ear, and the brain. And now, apparently, it&#8217;s time to address the brawn - at least, when it comes to his work behind the camera. As a director, Mamet has given us such complex&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Documentary has &#8216;Heart&#8217; to Spare</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/documentary-has-heart-to-spare/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58333</id>
      <published>2008-05-09T04:48:00Z</published>
      <updated>2008-05-09T04:48:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/y/youngheart1.jpg"/img> </p> <p> Aging in America is its own prison, a metaphysical place where family members forget their loved ones because the stench of mortality is too great to bear. Even worse, because of horrific diseases like Alzheimer&#8217;s and dementia, the elderly are viewed moreover as ticking time bombs, burdens placed on relatives for reasons that are uncomfortable and unavoidable. It may seem like a trap, but the prison is more than reciprocal. So how refreshing is it to see a group of septa- and octogenarians expressing themselves in song as part of the community chorus. Even better, these&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">&#8216;Speed Racer&#8217; Soars!</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/speed-racer-soars/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58332</id>
      <published>2008-05-09T04:45:00Z</published>
      <updated>2008-05-09T04:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/s/speedracer1.jpg"/img> </p> <p> Candy colored dreams descend down physically impossible angles, shapes shifting across plains of apparent non-reality while simultaneously simulating real life. Cartoon icons come to life, reduced to clich&#233;d contradictions in a classic tale of good vs. very, very evil. Family is the focus, but not to the detriment of all that effervescent eye candy, and modern technology never trumps the skills inherent in masterful moviemaking. This is what the Wachowski Brothers have created with their homage to the classic &#8216;60s anime series. <i>Speed Racer</i> is that kind of a thesaurus level triumph. One needs an extended&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">A Touch of &#8216;Seytan&#8217;</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/a-touch-of-seytan/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57163</id>
      <published>2008-05-08T05:45:00Z</published>
      <updated>2008-05-08T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/s/seytan1.jpg"/img> </p> <p> Film may be a kind of international language, but sometimes, the true meaning of a movie definitely gets lost in the translation. Let&#8217;s face it - not every country gets its neighbor&#8217;s artistic temperament, and visa versa. The most constantly referenced and clich&#233;d example of course is the French critical community&#8217;s abject adoration of Jerry Lewis. While Americans find him a goofy, often grating comic persona, Parisians palpitate over his high strung histrionics. Similarly, certain foreign film types fail to generate the same kind of response once they hit Western shores. The recent rash of J-Horror&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Neverwas (2005)</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/neverwas-2005/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58331</id>
      <published>2008-05-07T05:45:00Z</published>
      <updated>2008-05-07T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p>It&#8217;s Wednesday, and you know what that means? It&#8217;s time for another lamentable entry from Hollywood&#8217;s hack factory. This week, a warmed over bit of magic realism that&#8217;s actually neither.&nbsp;
</p>      ]]></content>
    </entry>

    <entry>
<title type="html">WOW&#45;chowski</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/wow-chowski/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58293</id>
      <published>2008-05-06T05:45:00Z</published>
      <updated>2008-05-06T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/w/wowchowski.jpg"/img> </p> <p> Had they only made three movies - <i>Bound</i>, <i>The Matrix</i>, and the upcoming <i>Speed Racer</i>, the writing/ directing team of brothers Andy and Larry Wachowski would be considered cinematic gods. They&#8217;d hold a place right next to Quentin Tarantino and David Fincher as outright geek gladiators who took mainstream cinema by the throat and throttled it until it cried &#8220;uncle&#8221;. Through their unique visual style, overripe expression of film&#8217;s formative language, and pure joy in the art of the image, they&#8217;ve been both incredibly blessed and unduly cursed. They have made some remarkable movies. Yet it&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">The Meaning of $100 Million</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/the-meaning-of-100-million/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58235</id>
      <published>2008-05-05T05:45:00Z</published>
      <updated>2008-05-05T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/m/money100million.jpg"/img> </p> <p> What does $100 million mean anymore? Not to the average person, who could bankroll said sum into a whole new life - or at least a pay-off of his (or her) zero down mortgage, and then some. No, what does the figure mean to Hollywood, and specifically, the studio suits and the talent behind the movies. Making that kind of scratch used to be a mind-blowing commercial concept. <i>Ben Hur</i> only made a staggering $39 million in 1959, while <i>The Sound of Music</i> raked in over $70 million. Yet it wasn&#8217;t until <i>Jaws</i> that a film&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Teeth (2007)</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/teeth-2007/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58177</id>
      <published>2008-05-04T15:00:00Z</published>
      <updated>2008-05-04T15:00:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/t/teeth1.jpg"/img> </p> <p> It sounds both sinister, and kind of silly: <i>vagina dentata</i> - literal translation, female genitalia with teeth. Believe it or not, cultures all around the world have legends about this mysterious gender power, a clear cut allegory for the control women have over men. While much of what makes up the folklore derives from ignorance, imagination, and just a wee bit of old world paternal superstition, it&#8217;s clear that the biological battle of the sexes is less than a fair fight. Women mandate conception, give birth to the future, and more or less determines the destiny&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">I&#8217;m Not There: Two Disc Collector&#8217;s Edition</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/im-not-there-two-disc-collectors-edition/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58176</id>
      <published>2008-05-03T16:00:00Z</published>
      <updated>2008-05-03T16:00:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/i/imnotthere1.jpg"/img> </p> <p> While driving across country a few years ago, filmmaker Todd Haynes decided to get reacquainted with an old friend. The man&#8217;s music had always meant something to him, but he never really made the link between the breadth of what he accomplished (and continued to do so) vs. the scope of how he changed the cultural landscape. The name Bob Dylan still demands the kind of respect worthy of a major historical icon, and he continues to make meaningful contributions to the craft of songwriting. But once Haynes began to dig into his four decade long&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Friday Film Focus &#45; 02 May, 2008</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/friday-film-focus-02-may-2008/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58091</id>
      <published>2008-05-02T04:00:00Z</published>
      <updated>2008-05-02T04:00:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/f/fridayfilmfocus.jpg"/img> </p> <p> SUMMER&#8217;S HERE!!! and for the weekend beginning 2 May, here are the films in focus: <br /> <br /> <div class="imageEmbedLeft"><div class="imageBox"><img src="http://www.popmatters.com/images/blog_art/i/ironman2.jpg" width="200" height="293" /></div></div><b><i>Iron Man</i></b> [<a href="javascript:popUp('http://popmatters.com/includes/ratings-music.html')">rating: 9</a>] <br /> <br /> <font size="1"><i><b>Iron Man</b> is fantastic, a sure fire blockbuster that will leave audiences breathless and fanboys wanting more</i> <br /> </font> </p> <p> It may have been the moment when Tobey Maguire went emo, a visual gag that gave longtime Spider-man fans a similar physical reaction. Or maybe it was the flailing <i>Fantastic Four</i> franchise, taken out of its superhero element to&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">&#8216;Snow Angels&#8217; Stumbles Near the End</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/snow-angels-stumbles-near-the-end/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57777</id>
      <published>2008-05-02T03:05:00Z</published>
      <updated>2008-05-02T03:05:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/s/snowangels1.jpg"/img> </p> <p> Is there really any surprise left in the story of a small town racked by tragedy? Would something like <i>Blue Velvet</i>, or David Gordon Green&#8217;s <i>George Washington</i> really resonate today? The last movie to try was Todd Field&#8217;s fantastic <i>Little Children</i>. While poised to be an awards season hit, it was ignored by critics and barely made a box office dent. While marketing and studio support can easily be blamed, audiences clearly didn&#8217;t want to take another trip down sad suburban lanes. Now Green has returned with yet another look at how the problems of people&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">&#8216;Iron&#8217; is Da Man!</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/iron-is-da-man/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58090</id>
      <published>2008-05-02T03:00:00Z</published>
      <updated>2008-05-02T03:00:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/i/ironman1.jpg"/img> </p> <p> It may have been the moment when Tobey Maguire went emo, a visual gag that gave longtime Spider-man fans a similar physical reaction. Or maybe it was the flailing <i>Fantastic Four</i> franchise, taken out of its superhero element to be forced and family friendly. <i>The Phantom</i> didn&#8217;t help, and <i>Ghost Rider</i> only staved off the inevitable. The superhero movie was hobbled, and having a hard time maintaining its cinematic relevance. </p> <p> So when it was announced that Marvel would take control of its own brand and make its own movies from its catalog, some were&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Surround Sound: The Standalone Experience</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/surround-sound-the-standalone-experience/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58089</id>
      <published>2008-05-01T05:45:00Z</published>
      <updated>2008-05-01T05:45:00Z</updated >
      <author>
            <name>Marco Lanzagorta</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <div class="imageBlock"><div class="imageBox"><img src="http://www.popmatters.com/images/blog_art/s/surround-sound.jpg" width="500" height="250" /></div></div> <p> Arguably, soundtracks are more than simple music. That is, while music itself can be described in terms of compositions, orchestrations, harmonies, melodies, and performances, movie scores also evoke the rather complex synergy that exists between sound and the cinematic image. As such, a soundtrack can only be rightfully appreciated within the context of the movie it accompanies. But then again, there are a few instances where we can listen to a score and still appreciate all its structural and inspirational beauty. This installment of <b>Surround Sound</b> explores a few recently released soundtracks&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Jungle Juice (2002)</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/jungle-juice-2002/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.58060</id>
      <published>2008-04-30T05:45:00Z</published>
      <updated>2008-04-30T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p>It&#8217;s time for Wednesday&#8217;s look at the worst of the worst. Today, a horribly unfunny comedy from South Korea.
</p>      ]]></content>
    </entry>

    <entry>
<title type="html">The Five Best Films of Spring 2008</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/the-five-best-films-of-spring-2008/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57972</id>
      <published>2008-04-29T05:45:01Z</published>
      <updated>2008-04-29T05:45:01Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/g/goodmovie1.jpg"/img> </p> <p> Tradition holds that, for Hollywood, the Spring represents the end of ballyhoo - and the business year. During the four month flatline between January and April, every unmarketable mess, every experimental excuse, every contractually obligated star vehicle, and otherwise underdone effort would get a mandatory release - a few days of bewildering box office glory before fading into VHS obscurity. It was always an aesthetic stop gap, a means of making talent happy, critics cranky, and audiences wary. Summer would come soon enough, and with it, the far more palatable popcorn fare. Yet for over 16&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">The Five Worst Films of Spring 2008</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/the-five-worst-films-of-spring-2008/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57971</id>
      <published>2008-04-28T05:45:00Z</published>
      <updated>2008-04-28T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/b/badmovie1.jpg"/img> </p> <p> With the faux infighting of <I>Baby Mama</I> and <I>Harold and Kumar 2</I> making the 25 April weekend as anticlimactic, cinematically speaking, as possible, it&#8217;s time to take a look back at the movies that made the last four months a Bataan Death March of motion picture torture. Of course, bad is in the eye of the beholder, but sometimes, it&#8217;s impossible to deny the dearth of imagination and originality cascading off the screen. Frequently, we chalk it up to needing a paycheck. In other instances, it&#8217;s the marketing minds that determine retardation, and that redundancy equals&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">The Fall of the Roman Empire: The Miriam Collection (3 Disc Limited Collector&#8217;s Edition)</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/the-fall-of-the-roman-empire-the-miriam-collection-3-disc-limited-collector/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57824</id>
      <published>2008-04-27T05:45:00Z</published>
      <updated>2008-04-27T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/r/romanempire1.jpg"/img> </p> <p> It was the final nail in his financial coffin, the epic that would eventually close his by now infamous Spanish studios. After the troubled production surrounding his last epic, 55 Days at Peking, many believed producer Samuel Bronston would exercise some manner of restraint. But in true visionary form, he actually tore down his original Rome sets when actor Charleton Heston (who had appeared in <i>El Cid</i>) expressed interest in the Chinese spectacle. When the famous star eventually rejected a role in <i>Fall</i>, Bronston hired Stephen Boyd, and then rebuilt the entire Forum and most of&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Cloverfield (Small Screen DVD Edition)</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/cloverfield-small-screen-dvd-edition/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57825</id>
      <published>2008-04-26T05:45:00Z</published>
      <updated>2008-04-26T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/c/cloverdvd1.jpg"/img> </p> <p> It&#8217;s almost impossible to downsize spectacle. Something that plays as awe-inspiring and epic on the big screen loses much of its luster when miniaturized to standard TV specifications. No matter the home theater set-up, the size of the screen or the complexity of the sound system, nothing matches the theatrical experience point by point, 100%. Instead, it can only marginally mimic what the movies do best - stretch the scope of a subject beyond the most tenable elements of the individual imagination. Back in January, the J.J. Abram&#8217;s produced <i>Cloverfield</i> used the Japanese giant monster movie&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Friday Film Focus &#45; 25 April, 2008</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/friday-film-focus-25-april-2008/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57841</id>
      <published>2008-04-25T05:45:00Z</published>
      <updated>2008-04-25T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/f/fridayfilmfocus.jpg"/img> </p> <p> For the weekend beginning 25 April, here are the films in focus: <br /> <br /> <b>In Brief</b> <br /> <br /> <div class="imageEmbedLeft"><div class="imageBox"><img src="http://www.popmatters.com/images/blog_art/h/haroldkumar2.jpg" width="200" height="296" /></div></div><b><i>Harold and Kumar Escape from Guantanamo Bay</i></b> [<a href="javascript:popUp('http://popmatters.com/includes/ratings-music.html')">rating: 5</a>] </p> <p> Is it possible to make a stoner comedy without actually showing your heroes wake and bake? Can a keen political satire be crafted out of obvious takes on the War on Terror and government incompetency? Both questions come up frequently in this relatively successful sequel to the 2004 pot party. This time around, our title characters&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Art Disintegrates Life Part 1: The Savages</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/art-disintegrates-life-part-1-the-savages/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57684</id>
      <published>2008-04-24T05:45:00Z</published>
      <updated>2008-04-24T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/t/thesavages1.jpg"/img> </p> <p> There is nothing noble about caring for a demented relative. There is nothing inherently humorous in the decision over whether or not to warehouse said elderly family member. While it may ease your moral compass to find a fancy (and expensive) assisted living facility, the reality is much less mechanical. There&#8217;s a crucial line in Tamara Jenkins&#8217; <i>The Savages</i> that does indeed resonate within such a situation. Phillip Seymour Hoffman, playing the sensible brother to Laura Linney&#8217;s angst-driven Annie Hall type, argues that high end does not necessarily mean the best care. &#8220;This is all for&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Thunderpants (2002)</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/thunderpants/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57714</id>
      <published>2008-04-23T05:45:00Z</published>
      <updated>2008-04-23T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p>It&#8217;s time for our weekly look into some of the worst movies of all time. Today, it&#8217;s the tale of a boy, his best friend, and his incredibly flatulent bottom.&nbsp;
</p>      ]]></content>
    </entry>

    <entry>
<title type="html">Before the Devil Knows You&#8217;re Dead</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/before-the-devil-knows-youre-dead/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57683</id>
      <published>2008-04-22T05:45:00Z</published>
      <updated>2008-04-22T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/b/b4thedevil1.jpg"/img> </p> <p> Sidney Lumet has made some of the greatest films of the modern era. Looking over titles like <i>The Pawnbroker</i>, <i>Serpico</i>, <i>Dog Day Afternoon</i>, <i>Network</i>, it&#8217;s hard to deny his import. He&#8217;s also hacked his way through some undeniable garbage including <i>The Morning After</i>, <i>A Stranger Among Us</i>, and the god awful <i>Gloria</i> remake. With his last significant film being the uneven Vin Diesel vehicle <i>Find Me Guilty</i>, many believed his best days were behind him. After all, at 83, the one time master of the TV drama seemed a very long way from the medium&#8217;s Golden&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Darren Lynn Bousman: Repo&#45;ssessed!</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/darren-lynn-bousman-repo-ssessed/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57267</id>
      <published>2008-04-21T05:45:00Z</published>
      <updated>2008-04-21T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p>For more information on this amazing movie, please visit the new <i>Repo: The Genetic Opera</i> website (<a href="http://www.repo-opera.com/" title="click here">click here</a>)
</p>      ]]></content>
    </entry>

    <entry>
<title type="html">Flash Point (2007)</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/flash-point-2007/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57493</id>
      <published>2008-04-20T05:45:00Z</published>
      <updated>2008-04-20T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/f/flashpoint1.jpg"/img> </p> <p> In the world of Hong Kong action films, fights are the fists of fury equivalent to sex scenes. The more accomplished the actors, the &#8220;hotter&#8221; the performance. In the case of Asian superstar Donnie Yen, his career has been one big collection of kung fu pop shots. However, nothing can prepare you for the hardcore thrills of watching this talented fighter take on <i>The Matrix</i>&#8216;s magnificent Collin Chou in <i>Flash Point</i>. The duo take a standard revenge tale, and with the help of some magnificent mixed martial arts, deliver one of the most amazing confronts ever.&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Charlie Wilson&#8217;s War</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/charlie-wilsons-war/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57492</id>
      <published>2008-04-19T05:45:00Z</published>
      <updated>2008-04-19T05:45:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/c/charliewilsondvd1.jpg"/img> </p> <p> If politics makes for strange bedfellows, then Washington DC must be an orgy of Caligulian proportions. There among the conservative and liberal, special interests and the accompanying pork, lies the inherent evil - and the distinct beauty - of the democratic system. To use another tired clich&#233;, we are what we eat, and by continually electing representatives who put personal agenda and individual power above that of their constituency, our policy dishes have been paltry at best. Back before &#8216;W&#8217; put us in the center of a Middle Eastern maelstrom, very few career Congressmen were thinking&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">Friday Film Focus &#45; 18 April 2008</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/friday-film-focus-18-april-2008/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57418</id>
      <published>2008-04-18T05:55:00Z</published>
      <updated>2008-04-18T05:55:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/f/fridayfilmfocus.jpg"/img> </p> <p> For the weekend beginning 18 April, here are the films in focus: <br /> <br /> <div class="imageEmbedLeft"><div class="imageBox"><img src="http://www.popmatters.com/images/film_art/f/forgetting-sarah-marshall-poster.jpg" width="200" height="293" /></div></div><b><i>Forgetting Sarah Marshall</i></b> [<a href="javascript:popUp('http://popmatters.com/includes/ratings-music.html')">rating: 8</a>] <br /> <br /> <font size="1"><i>Written with a sensationally smutty Woody Allen expertise and loaded with big fat bawdy barrel laughs, <b>Forgetting Sarah Marshall</b> is another wacked out winner</i> <br /> </font> <br /> Apparently, <i>Drillbit Taylor</i> was just a fluke. After a year which saw comedy giant Judd Apatow score with <i>Knocked Up</i>, <i>Superbad</i>, and the highly underrated <i>Walk Hard: The Dewey Cox Story</i>, 2008 sure started&#8230;      ]]></content>
    </entry>

    <entry>
<title type="html">&#8220;Sarah Marshall&#8221; is Unforgettable</title>
      <link rel="alternate" type="text/html" href="http://www.popmatters.com/pm/blogs/shortends_post/sarah-marshall-is-unforgettable/" />
      <id>tag:popmatters.com,2008:pm/blogs/shortends/17.57525</id>
      <published>2008-04-18T05:50:00Z</published>
      <updated>2008-04-18T05:50:00Z</updated >
      <author>
            <name>Bill Gibron</name>
            <email>comments@popmatters.com</email>
      </author>
      <content type="html"><![CDATA[
        <p><img src="http://www.popmatters.com/images/blog_art/s/sarahmarshall1.jpg"/img> </p> <p> Apparently, <i>Drillbit Taylor</i> was just a fluke. After a year which saw comedy giant Judd Apatow score with <i>Knocked Up</i>, <i>Superbad</i>, and the highly underrated <i>Walk Hard: The Dewey Cox Story</i>, 2008 sure started off with a stumble. Though the former <i>Freaks and Geeks</i> creator who literally resuscitated the dying big screen laughfest played a small role in the Owen Wilson flop, some saw the underperforming picture as an indicator of a fleeting 15 minutes. Apparently the funny business funeral was scheduled a little early. Instantly becoming one of this year&#8217;s best films&#8212;humorous or not&#8212;the hilarious&#8230;      ]]></content>
    </entry>


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