Bloated Stomach Anxiety

Finally! Past results of the comprehensive gravélien 2010

. Best SUV of the Year:

• The Social Network (David Fincher). The movie to see for a) hate joyously b) heal forever ... ) regret that we could have ... ) ) = not having studied or is part of the faculty club of Ivy Leagues U.S. ) ) = not to be a genius .. ) = .. or not to be a millionaire.
• A Serious Man (Joel & Ethan Coen). After the coup (thin, but clever and intense) of No Country For Old Men , the Coens show vividly that there is really no limit to them is insurmountable when they forcefully reconçoivent inspiration the disaster movie .
• Carlos long version (O. Assayas) - is perfectly qu'Assayas forget, an adventure television earlier thought he was in Bille August for The sentimental.
• The Ghost Writer (R. Polanski) - In all respects the film author of a clever, Machiavellian and misanthropic than the apprehension of an extended stay in Switzerland did find his talent and put back on the map .
• Shutter Island (Martin Scorsese), a little disappointing, but in its fabulous art direction and atmosphere to spare. The overvalued

:

• Avatar (James Cameron) - The plasticine and cheez-whiz digital reach their upper stage évolussion (devolving the cinema as much) in his adaptation of the classic immortal Peyo shtroumpfs in Pocahontas, which, unlike the original, preaches in its content that destroys its form A film and completely soulless technology that preaches a return to nature and spiritual values. As proof that there is worse cynicism involuntary, we note that in the end, the settlers marine go home, head down and dick in hand, without a bath blood or genocide behind them. More cynical than that, and the gas chambers at Auschwitz showers turn into ...
• Inception (Christopher Nolan), Black Swan (Darren Aronofsky): The dream world is not dead in the film, it just smells funny. Witness these two flirtations with madness that leave the viewer rationally ground from beginning to end. Two alarming symptoms of zeitgeist of the era: Madness, dear friends, Is not Meant to Be a Walk in the park.
• Curling (Denis Côté). Last date of ostentation in the former meisterkritik of ICI (and colleague of mine, but whatever), and illustrates once again that as a moviegoer as a filmmaker, he seems to have sensitivity as for when a plan begins and when a plane stops. Between the two? Grosso modo, the wind.

We catch up:

• Heartbeats , Xavier Dolan. Light, regret, but Dolan will be there tomorrow.
• Wild Grass , Alain Resnais. Frankly since the turn boulevardier Life is a novel we will probably retained at the entrance ...
• Film Socialism, Jean-Luc Godard. It is supposedly his last. But given that there are all the others, where is the urgency?
• Jackass 3-D . One of the many avatars of the possible future of cinema in the great tradition of puppet: people get hurt and say ouch , or return - drop gag (it's childish, I know) that never fails to make me laugh wickedly. The only film in 3-D sorry I have not seen in 3-D.
• Enter the Void (Gaspar Noe), despite all the evil you may think, a Noah, when it is not seen in theaters, this is not Noah, but it's still film. (Unless it's the reverse?)

will be caught up, for better or worse:

• Dede through the mists (-). The hagiography expected, predictable and "feel" of our Kurt Cobain, version pea soup. Incidentally, Dede Fortin did not suicide by hara-kiri by . Okay?
• I killed my mother (+). In "prodigy," there is "extravagance", and if Dolan is not the "miracle" that some claim (or waiting), his extravagance always happy. Go Xavier! We are like you.
• Bonnie & Clyde (-/+). Effect of time, the film that Pauline Kael was talking like a classic American revolutionary of all times would tend to move in a college class as the perfect model and just revamped paint by numbers patented screenwriting by Syd Field. "Time destroys everything ... "
• Fish Tank (+). A recent incarnation of the incredible skill of a british film which, with its small size, knows impose characters (and their environment, and their "moments"), so quite indelible. Not true, Truffaut?

SUVs and reviewed similar to fabulous first time (= directory):

• The Wild Child (F. Truffaut). Like Kubrick somewhere, "the trial of the civilization "that must undergo the natural man haunted Truffaut point to be traced back to the dawn of humanity, this evocation of the history of little Victor of Aveyron, the" wild child "of the title. A work-key, extremely moving.
• I get home (Manoel de Oliveira). The tempo Oliveira films are perhaps the most subtle mingling of the theater, film and literature that I know. His films, rather slow in appearance, provided that they leave thinking suggests. This is rare.
• Passion (Jean-Luc Godard). Perhaps one of the top three Godard films ever made. A moment of grace and exceptional cohesion in this author "scattered", which crystallizes all its strengths and themes of the time without fail one minute.
• Les Plouffe (Gilles Carle). Probably the only evidence of Québec cinema alive than the Quebec-French co-production was not necessarily designed to produce only pitiful shit, even if it is content to thirty years.
• The Sorrow and the Pity (Marcel Ophüls, 1968) absolute masterpiece of sound. Few films have expressed so eloquently (or irrelevance) of what it means to be part of humanity when we are faced with limits moments of history. Great, great, great film.
• Inland Empire (David Lynch, 2007). Contrary to what I thought at first, this movie makes sense, and makes system in a way impossible to ignore. Amazing year on the grounds of fitting in all its forms, the work of a genuine researcher , Inland Empire could help the author to win the title of Doctor Honoris Causa for having so well embodied in a film Gilles Deleuze's concept of rhizome.
• Going Places (Bertrand Blier, 1973-4). "You really have to respect the lechery [Blier do what is in his films]," said Pauline Kael once. Going Places in , Blier is almost in the radius and ribald ribald, the grace and emotion that had brought in Chaplin's silent comedies (not to mention the thrill of danger, transgression). In addition, the expression of Patrick Dewaere ecstatic at the end when he looks Isabelle Huppert be deflowered by her friend is a wonderful time with erotic libertarian.

timeless discoveries:

• Very Nice, Very Nice Arthur Lipsett . Revelation. Six minutes, but infinitely.
• The shadow army (Melville). Large piece of existentialist film.
• Casino Royale (James Bond, the latest version). Only franchise in a state of exhaustion can achieve such a renewal of their familiar tropes with an injection of unexpected depth and even a kind of tragic inspiration. Famous.
• Network (Sidney Lumet). Yet on the impact of cloud-catarthico misanthropic. "I'm as mad as hell, and I'm not going to take this anymore! "- A very contemporary film, perhaps more than then.
• First Blood (Ted Kotcheff, 1981). In the words of the late Falardeau, I never exaggerate.
  

Disappointments, more or less:

• Diary of a cooperating (Robert Morin) after reflection, a very low Robert Morin, but could give no worse stuff (though terribly outrageous) they ventured one day, and bluntly, in the porn on the web, the worst kind. But is this really necessary?
• Vital signs (Sophie Deraspe), or how to do too much, too deep, and get a result below expectations, too loaded on the plane humanistic and existential, to the capacity of actors, in addition, and content of the dialogues. No showing off, just clumsiness. And the shadow of Reygadas Seidl like leaden horizon of the film. In human terms, however, is impeccable and very generous.

The reunion more or less desirable, more or less inevitable.

• Claude Lelouch with Ones and others or fifty years of history French compressed into three hours of television variety, including a detour musical side of the death camps. That would inevitably lead to Michel Drucker during transitions, although the camera does not give Lelouch instead. Good Year was still a good movie ...

YouTube The epiphany of the year:

• Having reviewed Sleeper, Love and Death and Broadway Danny Rose burst the same day: reminiscences both heartfelt and hilarious of a time when Allen Stewart Konigsberg put everything he knew (and mastered better and better) on the art of staging plays, in each of his films. Woody has already been great.
  

Over the holidays, we tapped:

• Let the Right One In , the Swedish vampire movie sensationalism disorder. Ah, those barefoot in the snow, the rumbling stomach sank as soon as we hear every drop of blood ... Ah, yes, and the shock of realizing, at second sight, that after their first or second interview, it is clear that Lina Leandersson still wonders if she should not go to the teeth in the neck Kare Hedebrant.
• The World of Jules Verne / The diabolical invention (Karel Zeman, 1958), it does not dry to be amazed by this fabulous adventure film that gives movement to the spirit and engravings of Gustave Dore in splendid scenery painted cardboard. Moreover, the film with a perfect fusion of time reading: Against the Day , Thomas Pynchon, where the scientific reality bends to the contours of the wildest theories to have been designed at the time of the Exposition Universelle Chicago (1893).
• Brazil (Terry Gilliam, 1984), for his dystopian universe completely ineffective. I almost forgot that it happened at Christmas, this film.
• Eyes Wide Shut (Stanley Kubrick, 1998) for trees that invade the dowdy decor: the ultimate practical joke of Uncle Stanley.
• Ghosts of hatter, Chabrol, in his more intense. Still inspires as much terror and pity whenever I see it.

We are bored to see or see again:

• Any Bunuel film (especially Simon desert )
• The Cook, The Thief, His Wife & Her Lover Peter Greenaway, when he was still making movies.
• Bertollucci A good period
• Rome, Open City Roberto Rossellini . In fact any Rossellini.

We do not care a lot for not having seen:

• Latest DePalma
• Latest Angelopoulos
• the last five years the World Film Festival

The TV series discoveries this year

• In Treatment
• Dexter

We would dig

• Jacques Demy after seeing Donkeyskin in 2009
• Max Ophüls , and subtleties of its mechanical timepieces;
• series Lost , to see if it is still shot of the watch so that nobody speaks.

In 2010, we will be remembered that give a kidney to see

• The Complete "One Out " by Jacques Rivette; also because "a Article Pacôme Thiellement us drool over again. The
• Napoleon Stanley Kubrick, but ... in your dreams, buddy ! .. (And I keep my kidney.)

We will be spruced up without benefit:

• Shining (Stanley Kubrick, 1980) guided by an evil blog delusional (but packed with interpretative suggestions absolutely brilliant for what is to rethink the film), it was not long enough that he was seen to find something new.
• Alien III (David Fincher, 199?). The first ad campaign in the cinema said: "On Earth, everybody Cdn hear you scream. " What?
• No Country for Old Men (Joel & Ethan Coen), does not stand up well to the test the second view, which reduces it to a clever film tracking, a Tom & Jerry in Texas. Javier Bardem in figure impassive killer who thinks he is the Left Hand of Destiny, is still afraid.

Discovering all categories this year:

• Murmur of the heart , Louis Malle, 1971. There was more shame to be a little rich kid when it benefits both Laurent Chevalier (Benoit Ferrous), in this milling 400 rounds with the middle class at the time of the war Algeria. A fabulous Carpe Diem by the late Louis Malle, discreet and unrepentant hedonist.

The true-false inventory event of the year:

• The retrospective of Ken Russell and Fant-Asia Cinémathèque Québécoise , marred by the reluctance of Warner to divest major parts (which failed woefully to the appeal which Lisztomania , especially the full version of The Devils .) damage.

In 2011, we would like to write lovingly about ...:

• The biography of Antoine de Baecque Jean-Luc Godard (as well as on the films of Jean-Luc Godard), for the hour of balance was struck.
• Val Abraham, or the genius of Manoel de Oliveira: equate the figure of Madame Bovary to that of the Princess of Wales (rest his soul), with a wonderful narrative that fluent his breviary of wisdom.
• Cruising by William Friedkin. (No kidding.)

We think we / I has (i) failed to write good lyrics about ... :

• films of Robert Morin, alas.

were not bored too ...

• Bruno Dumont and his golems preconscious, the press screenings Quarter Latin, Cinema du Parc DeVeDe when he presents, and digital projections in general, with their bright continuous flow.