Performing another elegant soft-shoe towards the edge
of my mortal coil, I present to you...
 2006! In all its technicolored splendor!

[v] = Seen on DVD. Or HD-DVD. Or Blu-ray. Or PSP. Or iPod. Or cell phone.
Or watch. Or electronic fingernail. Or beamed directly into my brain via
a new, voice-activated satellite distribution system the studios have
funded so consumers no longer even need worry about pushing any buttons.
s01. (06 Jan) Gnome (2005, Jenny Bicks) [v]
[Starring the inimitable Ms. Lauren Graham.]
001. (07 Jan) /To Catch a Thief/ (1955, Alfred Hitchcock) *** [last seen: Fall 2002, on DVD]
002. (07 Jan) /Charade/ (1963, Stanley Donen) *** [last seen: Summer 2001, on DVD]
003. (15 Jan) /The 39 Steps/ (1935, Alfred Hitchcock) *1/2 [last seen: 9 - 12 years ago, on VHS]
004. (21 Jan) Why We Fight (2006, Eugene Jarecki) **
005. (22 Jan) Looking for Comedy in the Muslim World (2006, Albert Brooks) ***
006. (27 Jan) Bubble (2006, Steven Soderbergh) ***
007. (28 Jan) King Kong (2005, Peter Jackson) *
[If this obscenely obese, video game fuckery is -- as Jackson claims -- the future of cinema, count me out.]
008. (03 Feb) Manderlay (2006, Lars von Trier) ***1/2
009. (04 Feb) /Rosemary's Baby/ (1968, Roman Polanski) **** [last seen: December 2000, on DVD]
[Major upgrade -- guess I wasn't mature enough to fully appreciate this first time around (are other Polanski reversals forthcoming?) -- but expectations also make a big difference: my generation grew up hearing of Rosemary's Baby as a terrifying horror film, a classification which doesn't extend the film much justice (expecting tremulous shocks will only leave you disappointed; The Exorcist this is not). But if Rosemary's Baby isn't thrilling, it's something more profound: deeply unsettling -- even scarring -- with a pitiless vision of humanity that burns like a candlestick. On first viewing, I thought Polanski's straightforward gait and loopy, comedic strokes (e.g. the decidedly unambiguous ending, photographed by an Asian tourist caricature!) undermined his film's unease. I missed the point: from a plotting standpoint, Rosemary's Baby makes little attempt to conceal its intentions because there's no need. Seeing older generations as brutal violators rather than protectors, disbelieving in God, fearful of motherhood, and declaring innocence more a defect than virtue (something to inevitably be tainted), Polanski's matter-of-fact worldview is more baleful than any disposable chills. We're living in Hell on Earth, Polanski calmly opines, and there's nothing scarier than our ignorance.]
010. (05 Feb) The Misfits (1961, John Huston) **
[The first two+ acts are too verbose -- with the occasional sparkling one-liner -- but I guess that's what happens when you hire Arthur Miller to write a movie (Huston's inert direction doesn't help). So we're completely unprepared for the home stretch's billowy brilliance, played out against a vast, unspoiled landscape that seems to herald the limitless possibilities of a dying dream. Summarizing how modern civilization has trapped us in stifling Catch-22s, a few cowboys corral wild horses with a car -- planning to sell them for slaughter, so they don't have to settle down with 9-5 jobs -- quixotically killing off their last vestiges of freedom as they struggle to postpone the inevitable. Like many revisionist Westerns, The Misfits is an elegy for the frontier, but more powerfully, it's a lament for the death of independence. Miller's vision proved all too prescient, as our hopelessly wired world can now attest: Earth keeps shrinking -- losing much of its mystery in the process -- and soon everyone (in Western civilization, at least) will be irrevocably tamed by their sleek, technological cages (no one without a cell phone, BlackBerry, pocket-sized tablet computer, and 6000 channels broadcast to their iPod). Meanwhile, the Corporations feed off these beeping, vibrating shackles, growing hungrier and fatter, making sure their prisoners are always within a pixel's reach, swallowing up huge amounts of the population while slaying any lingering sense of individuality. In The Misfits' final scene -- already resigned to his characters' ignoble fates -- Miller coughs up a glimmer of hope, wondering if physical circumstances are irrelevant and "independence is just a state of mind." Perhaps. But once cell phones and BlackBerries are implanted directly into our brains, we won't even have a mind to call our own.]
011. (11 Feb) Murder on a Sunday Morning (2001, Jean-Xavier de Lestrade) [v] ***1/2
012. (11 Feb) Hustle (1975, Robert Aldrich) [v] **
013. (17 Feb) What's Eating Gilbert Grape (1993, Lasse Hallström) [v] **1/2
014. (18 Feb) Winter Passing (2006, Adam Rapp) ***
[You know Zooey is in damn good hands when the first scene has a character requesting she sing. Indeed, Rapp doesn't disappoint ZD fans like me, who wouldn't have even bothered with Winter Passing if it didn't star one of the most mysterious actresses in cinema right now. Even though Rapp's a theater rat, he's artfully disguised his stagy upbringing, crafting a modest movie around Zooey's exquisite face -- a punk cupie doll lost between sly and somber -- rather than wordplay (but just to be safe he presents us with no less than two title cards declaring Winter Passing an "Adam Rapp Film," plus a third reminding us who wrote and directed it). Predictably, the same lame critics who anoint uninspired diversions like e.g. Junebug the fillet of the arthouse, complain that Winter Passing is too familiar indie territory. Well then I guess I don't watch IFC enough, because I haven't seen many films that coruscate in the twilight so effectively.]
015. (18 Feb) Autumn Leaves (1956, Robert Aldrich) *1/2
016. (19 Feb) Darwin's Nightmare (2006, Hubert Sauper) *
017. (19 Feb) Written on the Wind (1956, Douglas Sirk) *1/2
018. (19 Feb) /Kiss of Death/ (1995, Barbet Schroeder) [v] **1/2 [last seen: April 1995, theatrically]
019. (20 Feb) Something New (2006, Sanaa Hamri) *1/2
020. (20 Feb) Reds (1981, Warren Beatty) **
021. (23 Feb) Neil Young: Heart of Gold (2006, Jonathan Demme) **
022. (24 Feb) Grumpy Old Men (1993, Donald Petrie) [v] **1/2
023. (25 Feb) Shock Corridor (1963, Samuel Fuller) **1/2
024. (25 Feb) Black Tuesday (1954, Hugo Fregonese) ***1/2
[Superb, inexplicably forgotten noir that functions equally well as swift genre piece and blunt death penalty inquisition, analyzing at gunpoint the futility of placing different values on human lives. Bewitchingly photographed by the great Stanley Cortez (who also shot the fuck out of Shock Corridor, another study in claustrophobia), it hurts like an Edward G. Robinson (magnificently pugnacious in the lead) punch to the stomach.]
025. (26 Feb) Rancho Notorious (1952, Fritz Lang) ***
[Lush, Technicolor Western that brings the genre closer to the fever dreaming of McCabe & Mrs. Miller and The Shooting, with musical montages and fanciful communes and a hallucinatory combination of cowboys galloping through gloaming vistas (stunning pink streaks fighting with darkness) and characters talking in front of obvious matte paintings (it's similar to the way Tarantino combines location shooting with rear-screen projection). A standard revenge tale gussied up with fierce sexual yearning (cigarettes have never met lipstick like on Dietrich) and a disregard for typical frontier reticence.]
026. (04 Mar) Munich (2005, Steven Spielberg) ***1/2
027. (04 Mar) Unknown White Male (2006, Rupert Murray) *1/2
028. (05 Mar) In Cold Blood (1967, Richard Brooks) *****
029. (10 Mar) The Heart Is Deceitful Above All Things (2006, Asia Argento) *
030. (11 Mar) Ask the Dust (2006, Robert Towne) **
031. (11 Mar) The Loved One (1965, Tony Richardson) *
032. (12 Mar) Dave Chappelle's Block Party (2006, Michel Gondry) ***
033. (12 Mar) Macon County Line (1974, Richard Compton) *
034. (14 Mar) Joyeux Noël (2006, Christian Carion) *
035. (15 Mar) Puzzle of a Downfall Child (1970, Jerry Schatzberg) *
036. (18 Mar) 16 Blocks (2006, Richard Donner) **
037. (18 Mar) Foul Play (1978, Colin Higgins) [v] **1/2
038. (19 Mar) Marathon Man (1976, John Schlesinger) **
039. (19 Mar) /Fat City/ (1972, John Huston) ***1/2 [first viewing: ***] [last seen: 25 Sep 2003, on DVD]
040. (25 Mar) Thank You For Smoking (2006, Jason Reitman) **
041. (25 Mar) The Marrying Kind (1952, George Cukor) **1/2
042. (26 Mar) Find Me Guilty (2006, Sidney Lumet) *
043. (28 Mar) Inside Man (2006, Spike Lee) **
044. (30 Mar) The Bitter Tea of General Yen (1933, Frank Capra) *1/2
045. (01 Apr) Brick (2006, Rian Johnson) *1/2
046. (01 Apr) /Kramer vs. Kramer/ (1979, Robert Benton) *** [last seen: late 2001 / early 2002, on DVD]
047. (02 Apr) Slither (2006, James Gunn) **
048. (06 Apr) The Devil and Daniel Johnston (2006, Jeff Feuerzeig) ***1/2
049. (08 Apr) Lonesome Jim (2006, Steve Buscemi) *
050. (08 Apr) Splendor in the Grass (1961, Elia Kazan) ***1/2
051. (09 Apr) The Fallen Idol (1948, Carol Reed) **1/2
052. (09 Apr) L'Enfant (2006, Jean-Pierre Dardenne, Luc Dardenne) **
053. (09 Apr) /Spellbound/ (1945, Alfred Hitchcock) **1/2 [last seen: 7 years <, on VHS]
s02. (10 Apr) /The ChubbChubbs!/ (2002, Eric Armstrong) [v] [last seen: 23 Feb 2003, theatrically]
s03. (10 Apr) Early Bloomer (2003, Kevin Johnson) [v]
054. (13 Apr) Husbands (1970, John Cassavetes) 1/2 [mercifully, the 138 min. cut; yes, an even longer -- presumably lethal -- version exists]
055. (14 Apr) Panic in the Streets (1950, Elia Kazan) **
056. (14 Apr) /Something Wild/ (1986, Jonathan Demme) *1/2 [last seen: Fall 2001, on DVD]
057. (15 Apr) Underworld U.S.A. (1961, Samuel Fuller) **
058. (15 Apr) Nightfall (1957, Jacques Tourneur) **
059. (16 Apr) V for Vendetta (2006, James McTeigue) **
060. (22 Apr) A Face in the Crowd (1957, Elia Kazan) **1/2
061. (22 Apr) The Notorious Bettie Page (2006, Mary Harron) *
062. (23 Apr) Somersault (2006, Cate Shortland) ***
063. (23 Apr) The Man Who Would Be King (1975, John Huston) *1/2
s04. (24 Apr) Demo Jail (2006, Paul Thomas Anderson) [v]
064. (29 Apr) Hard Candy (2006, David Slade) *
065. (29 Apr) /Crimes and Misdemeanors/ (1989, Woody Allen) ***1/2 [last seen: 4 years <, on DVD]
066. (30 Apr) United 93 (2006, Paul Greengrass) *****
s05. (05 May) Thirty-Four Fourteen (2006 [?], Shonali Bhowmik, Heather Lawless, Chelsea Peretti, Andrea Rosen) [v]
067. (06 May) Art School Confidential (2006, Terry Zwigoff) *1/2
068. (07 May) Quick Change (1990, Howard Franklin, Bill Murray) [v] *1/2
069. (07 May) The Devil's Miner (2006, Kief Davidson, Richard Ladkani) *1/2
070. (07 May) Patton (1970, Franklin J. Schaffner) *1/2 [in sparkling 70mm!]
071. (11 May) Mad Max 2 (1981, George Miller) * [a decent 70mm blowup!]
072. (14 May) The Proposition (2006, John Hillcoat) *
073. (14 May) Down in the Valley (2006, David Jacobson) ***
074. (18 May) Mission: Impossible III (2006, J.J. Abrams) ***
075. (20 May) Darling (1965, John Schlesinger) **
076. (21 May) Clean (2006, Olivier Assayas) *1/2
077. (21 May) /Aliens/ (1986, James Cameron) *1/2 [last seen: 7.5 years ago, on DVD]
078. (27 May) Sketches of Frank Gehry (2006, Sydney Pollack) ***
079. (28 May) An Inconvenient Truth (2006, Davis Guggenheim) *1/2
080. (28 May) Army of Shadows (1969, Jean-Pierre Melville) **
081. (04 Jun) District B13 (2006, Pierre Morel) *1/2
082. (04 Jun) The Idiots (2000, Lars von Trier) ** [uncut]
083. (11 Jun) The Break-Up (2006, Peyton Reed) ***1/2
084. (11 Jun) /Heat/ (1995, Michael Mann) **** [last seen: 4.5 years ago, on DVD]
085. (12 Jun) A Prairie Home Companion (2006, Robert Altman) **1/2
086. (18 Jun) The Fast and the Furious: Tokyo Drift (2006, Justin Lin) *
087. (24 Jun) Classe tous risques (1960, Claude Sautet) *1/2
088. (24 Jun) Elevator to the Gallows (1958, Louis Malle) *1/2
089. (25 Jun) Friends With Money (2006, Nicole Holofcener) ***
090. (25 Jun) Wordplay (2006, Patrick Creadon) **
091. (28 Jun) Vincent & Theo (1990, Robert Altman) **
092. (03 Jul) The Devil Wears Prada (2006, David Frankel) **1/2
093. (03 Jul) Superman Returns (2006, Bryan Singer) *
094. (07 Jul) Click (2006, Frank Coraci) Columbia TriStar signs my paycheck
095. (08 Jul) /North by Northwest/ (1959, Alfred Hitchcock) ** [last viewing: ~***1/2] [last seen: 30 Jan 2003, on DVD]
096. (13 Jul) Premonition (2007, Mennan Yapo) [early cut, projected video] Columbia TriStar signs my paycheck
097. (14 Jul) Performance (1970, Donald Cammell, Nicolas Roeg) *
098. (15 Jul) Leonard Cohen: I'm Your Man (2006, Lian Lunson) **
099. (15 Jul) X-Men: The Last Stand (2006, Brett Ratner) **1/2
100. (16 Jul) /Blue Velvet/ (1986, David Lynch) **** [last seen: Summer 2002, on DVD]
101. (16 Jul) Cisco Pike (1972, Bill L. Norton) *1/2
102. (22 Jul) Lady in the Water (2006, M. Night Shyamalan) *
103. (22 Jul) Two for the Road (1967, Stanley Donen) *1/2
104. (23 Jul) Straight Time (1978, Ulu Grosbard) ***1/2
105. (23 Jul) Pennies from Heaven (1981, Herbert Ross) **
106. (26 Jul) Monster House (2006, Gil Kenan) Columbia TriStar signs my paycheck
107. (27 Jul) Wassup Rockers (2006, Larry Clark) **
108. (28 Jul) Scoop (2006, Woody Allen) ***1/2
109. (29 Jul) Miami Vice (2006, Michael Mann) *1/2
110. (29 Jul) Little Miss Sunshine (2006, Jonathan Dayton, Valerie Faris) *1/2
111. (30 Jul) /All That Jazz/ (1979, Bob Fosse) *** [last seen: Spring 1999, on VHS]
112. (05 Aug) RoboCop (1987, Paul Verhoeven) **1/2
113. (06 Aug) The Descent (2006, Neil Marshall) *
114. (09 Aug) Clerks II (2006, Kevin Smith) 1/2
115. (12 Aug) Who Killed the Electric Car? (2006, Chris Paine) **1/2
116. (13 Aug) A Scanner Darkly (2006, Richard Linklater) **1/2
117. (13 Aug) Edmond (2006, Stuart Gordon) ***1/2
118. (19 Aug) World Trade Center (2006, Oliver Stone) ***
119. (19 Aug) Snakes on a Plane (2006, David R. Ellis) *
120. (20 Aug) Factotum (2006, Bent Hamer) **1/2
121. (26 Aug) Idlewild (2006, Bryan Barber) *1/2
122. (27 Aug) The Illusionist (2006, Neil Burger) **
123. (02 Sep) The Bad and the Beautiful (1952, Vincente Minnelli) **
124. (03 Sep) This Film Is Not Yet Rated (2006, Kirby Dick) *1/2
125. (03 Sep) Half Nelson (2006, Ryan Fleck) **1/2
126. (04 Sep) Idiocracy (2006, Mike Judge) ***1/2
127. (04 Sep) /Jaws/ (1975, Steven Spielberg) ***1/2 [last seen: Summer 2000, on DVD]
128. (09 Sep) /The Player/ (1992, Robert Altman) *** [last seen: 6 years <, on Laserdisc]
129. (09 Sep) Mutual Appreciation (2006, Andrew Bujalski) ***
130. (10 Sep) Chopper (2001, Andrew Dominik) *
131. (16 Sep) /The Lady Eve/ (1941, Preston Sturges) **1/2 [last seen: 17 Jan 03, on DVD]
132. (16 Sep) Modern Romance (1981, Albert Brooks) [v] ***
133. (17 Sep) Hollywoodland (2006, Allen Coulter) *
134. (21 Sep) Sherrybaby (2006, Laurie Collyer) **
135. (23 Sep) /Blow Out/ (1981, Brian De Palma) *1/2 [last seen: September 2001, on DVD]
136. (24 Sep) The Science of Sleep (2006, Michel Gondry) **1/2
137. (29 Sep) Louie Bluie (1985, Terry Zwigoff) **
138. (30 Sep) The Fury (1978, Brian De Palma) *1/2
139. (01 Oct) A Guide to Recognizing Your Saints (2006, Dito Montiel) *1/2
140. (07 Oct) The Departed (2006, Martin Scorsese) *1/2
[Despite a few whip pans and cutaways, I wouldn't have known who was behind the most overrated movie of the year if he wasn't recycling soundtracks from his classics. Sad that such preposterous pageantry is what gets every cock hard these days, but I guess clumsy plotting and endless macho posturing and an insufferable Jack Nicholson are all it takes. Biggest surprise is that The Departed ends before corpses start removing their Mission: Impossible masks.]
141. (08 Oct) Shortbus (2006, John Cameron Mitchell) **
142. (14 Oct) The Queen (2006, Stephen Frears) ***
143. (14 Oct) Old Joy (2006, Kelly Reichardt) *1/2
144. (15 Oct) Deliver Us From Evil (2006, Amy Berg) **1/2
[First half -- a dutiful chronicle of (Father) Oliver O'Grady's pedophilic transgressions -- is not insightful. Victims' testimony is interspersed with painfully overshot footage of a free-roaming O'Grady providing confirmation of their accounts; filming O'Grady in front of a playground packed with children -- or against a church's ornamentation -- seems to be Berg's idea of provocation, but he comes across as less a diabolically complex figure than an ill cipher lacking any interior life. Perhaps it would have taken a master documentarian like Jean-Xavier de Lestrade to weigh the extraordinary affability and placidity of the on-camera O'Grady against a man capable of raping innumerable young children -- this disparity never comes across. Luckily Berg rips open her probe in the second half, no longer interested in O'Grady so much as what kind of establishment (continually) produces such vile men. Enron and Mafia comparisons are posited, as is the chilling implication that Church officials genuinely believe all their actions are in service of God, but it's the excruciating rage and lost faith of men like Bob Jyono where the film's most important suggestion crystallizes: institutions will always ravage and triumph over the individual. Hey, that reminds me of a TV show...]
145. (21 Oct) Sleeping Dogs Lie (2006, Bobcat Goldthwait) 1/2
146. (21 Oct) Blow-Up (1966, Michelangelo Antonioni) **
147. (22 Oct) Marie Antoinette (2006, Sofia Coppola) Columbia TriStar signs my paycheck
148. (28 Oct) The Black Dahlia (2006, Brian De Palma) *
149. (29 Oct) Shut Up & Sing (2006, Barbara Kopple, Cecilia Peck) ***1/2
[In an age when almost every Talking Heads piece is deemed worthy of theatrical distribution, a founder of modern documentary filmmaking reminds us how invigorating cinema verité can be. The camera was there from the start of a saga so absurd it has the trappings of satire: an innocuous insult lobbed at one of the worst Presidents in US history snowballs into Salem, MA levels of national hysteria and three artists -- even despite their apologies -- are ushered towards the gallows (e.g. credible death threats are issued while a notable Rightwinger appears on television clamoring for the Dixie Chicks to be beaten). Shut Up & Sing expertly weaves the political and the personal, shuffling across three years as it creates a rare portrait of unity -- of courage as grace under pressure -- far more enlightening than countless studies in band discord and breakup. At the blowback's center is fierce Natalie Maines, possessor of an impish wit and disarming smile, and the most complex character to emerge in movies this year. Ours is a damaged country overflowing with ignorance, but somehow it can still produce glorious women -- mothers, wives, musicians, icons of hate -- like the Dixie Chicks.]
150. (29 Oct) Little Children (2006, Todd Field) **
151. (31 Oct) /Halloween/ (1978, John Carpenter) [v] *** [last seen: 5 years <, on DVD]
[A horror film told in long shot, with wide open spaces and no place left to hide. Carpenter's not interested in shock value or overt scares -- Michael Myers is a calm, mechanical creature, an embodiment of evil as a (literally) invincible force. We're aware he's always there, always watching; like death itself, we expect his inevitable wrath. More bracing than the slaughter is the inscrutability of its cause.]
152. (04 Nov) Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006, Larry Charles) ****
153. (04 Nov) Where the Sidewalk Ends (1950, Otto Preminger) *1/2
154. (05 Nov) Monty Python and the Holy Grail (1975, Terry Gilliam, Terry Jones) * [2001 ed.]
155. (11 Nov) The Prestige (2006, Christopher Nolan) ***
156. (11 Nov) Bunny Lake Is Missing (1965, Otto Preminger) **1/2
157. (12 Nov) Anatomy of a Murder (1959, Otto Preminger) **1/2
158. (15 Nov) Babel (2006, Alejandro González Iñárritu) **
159. (17 Nov) Casino Royale (2006, Martin Campbell) Columbia TriStar signs my paycheck
160. (18 Nov) Hud (1963, Martin Ritt) ****1/2
[Ritt strips struggle to its essence (Father v. Son, Man v. Nature, Rebellion v. Conformity), capturing the elemental tragedy of shattered ideals. Plenty of films have mourned the frontier's death, but Hud -- with its piercingly poetic aphorisms and Paul Newman's undiluted misanthropy -- is one of the few to also prefigure the Sixties' generational disconnect and heartbreak. Masterful James Wong Howe's pastoral photography (he won an Oscar for the work) stares through a country which can't hold onto its remaining innocence much longer.]
161. (19 Nov) Come Early Morning (2006, Joey Lauren Adams) ***
162. (22 Nov) Stranger Than Fiction (2006, Marc Forster) Columbia TriStar signs my paycheck
163. (23 Nov) Fast Food Nation (2006, Richard Linklater) **
164. (24 Nov) Flannel Pajamas (2006, Jeff Lipsky) *
165. (24 Nov) Christmas in July (1940, Preston Sturges) [v] ****
[Sturges's America is a roundelay of farcical deception, success (especially Corporate Climbing) an often absurd and arbitrary game. (Hard not to read Christmas in July as a metaphor for Hollywood, where few trust their instincts and worth is based on the illusion of appearance; i.e. you're only talented if the guy next door -- who has to check with the guy next door to him and so on -- says you are). What makes this film especially poignant is that Sturges -- having just lived through the Great Depression, even if he wasn't severely affected -- understands money, for all its pitfalls and potential vacuity, really does matter and the capriciousness of chance is a cruel mistress uneasily ignored. More enchanting than funny, Christmas in July presents a (67 minute!) model of narrative economy and typically dazzling Sturgian wordplay.]
166. (24 Nov) /The Naked Spur/ (1953, Anthony Mann) [v] *** [last seen: Summer 2002, theatrically]
s06. (24 Nov) Little Johnny Jet (1952, Tex Avery) [v]
167. (25 Nov) Déjà Vu (2006, Tony Scott) *1/2
168. (26 Nov) Bobby (2006, Emilio Estevez) ***
169. (02 Dec) For Your Consideration (2006, Christopher Guest) ***
170. (02 Dec) Dangerous Liasions (1988, Stephen Frears) *1/2
171. (03 Dec) The Fountain (2006, Darren Aronofsky) *1/2
172. (10 Dec) The Holiday (2006, Nancy Meyers) Columbia TriStar signs my paycheck
s07. (12 Dec) You Called Me (2006, Sky Hirschkron) [v]
173. (16 Dec) Inland Empire (2006, David Lynch) **
174. (17 Dec) Blood Diamond (2006, Edward Zwick) **1/2
175. (19 Dec) The Metrosexual (2006, Adam Kaufman) [unfinished] Adam is a friend
176. (23 Dec) Two or Three Things I Know About Her (1967, Jean-Luc Godard) *1/2
177. (23 Dec) Rocky Balboa (2006, Sylvester Stallone) **1/2
178. (25 Dec) The Good Shepherd (2006, Robert De Niro) *
179. (26 Dec) /Manhattan Murder Mystery/ (1993, Woody Allen) ***1/2 [last seen: Spring 2000, on DVD]
180. (27 Dec) Walkabout (1971, Nicolas Roeg) *1/2 [100 min. cut]
181. (27 Dec) Fury (1936, Fritz Lang) **
182. (29 Dec) /Radio Days/ (1987, Woody Allen) ** [last seen: Winter 2002, on DVD]
183. (29 Dec) /Broadway Danny Rose/ (1984, Woody Allen) **1/2 [last seen: Winter 2002, on DVD]
184. (31 Dec) The Dead Girl (2006, Karen Moncrieff) *