tag:blogger.com,1999:blog-293259702012-01-10T12:05:03.715-08:00"...becoming a film critic was less the pursuit of an exalted calling <br>than a means of averting social disapproval by justifying unbreakable habit." <br>- William S. PechterAdam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.comBlogger451100tag:blogger.com,1999:blog-29325970.post-91245234536046504392011-04-04T15:20:00.001-07:002011-04-04T12:25:27.347-07:00

Exte: Hair Extensions [2007]Schizophrenic J-horror outing from generally underground artist Sion Sono (I've also seen his messily operatic Love Exposure and Suicide Circle). It isolates a signature element of that stereotypical look of the vengeful Japanese ghost child and imbues those face-shrouding black locks with absurd menace, ever-growing and threatening to violate one's body through any

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-64732576907710928192011-04-03T16:15:00.002-07:002011-04-03T16:25:13.398-07:00

Three Comrades (1938, director Frank Borzage)The Beyond (1981, director Lucio Fulci)

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-80664861098814070002010-09-21T07:22:00.001-07:002010-09-21T07:23:27.301-07:00

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-18613525779045354462010-09-15T13:19:00.007-07:002010-09-15T14:00:10.992-07:00

In my never-ending quest to watch Jonathan Rosenbaum's 1000 Favorite Films, I embarked upon two largely misunderstood psychosexual thrillers from 1992, directed with chilly precision by European filmmakers in America. Paul Verhoeven's Basic Instinct successfully wallowed in controversy upon its release for Sharon Stone's infamous "twat seen 'round the world"; today though, it only seems like only

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com1tag:blogger.com,1999:blog-29325970.post-63564932363212164542009-03-01T09:45:00.005-08:002009-03-01T10:28:21.392-08:00

This is possibly my favorite new movie out there right now, and I plan to do some more with it soon, but for now here's some images with an especially nifty shade of neon blue that James Gray seems to be fond of.

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-56863769027622945812009-01-17T14:04:00.006-08:002011-01-10T11:35:47.803-08:00

Some background: For me, 2008 will be remembered as The Year I Graduated and The Year I Got To Work. I happily earned a BA in English for writing an essay mix ‘n’ matching the utopianisms of Thomas More, Emerson, Peter Weir, and Into the Wild while computer programming on the flip side and riding that technical knowledge to my very own 9-to-5 cubicle. And, oh yeah, there was an election or

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com1tag:blogger.com,1999:blog-29325970.post-29012124025091078152009-01-17T14:03:00.013-08:002010-05-25T06:54:18.155-07:00

Directed by: Jonathan DemmeWritten by: Jenny LumetCountry: USAStarring: Anne Hathaway, Rosemarie DeWitt, Bill Irwin, Debra WingerDon’t be thrown by the similarities between Jonathan Demme’s new film and other quirky dysfunctional family dramas like Pieces of April and Margot at the Wedding. Even at their best, those films tend to devalue any hope for pleasure, empathy, good will, or

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-65271722536110106132009-01-17T14:03:00.011-08:002009-02-09T16:18:16.575-08:00

Directed by: Andrew StantonWritten by: Andrew Stanton, Jim ReardonCountry: USAStarring: Fred Willard, the voices of Ben Burtt, Elissa Knight, Jeff Garlin, John Ratzenberger, Kathy Najimy, Sigourney WeaverApocalypse isn’t the typical subject matter for a children’s movie. But then again, neither is a rat cooking in France or over-the-hill superheroes, yet Pixar made it so. The studio is

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-62210572127447691452009-01-17T14:03:00.009-08:002009-02-09T16:11:53.920-08:00

Directed by: Steve McQueenWritten by: Enda Walsh, Steve McQueenCountry: IrelandStarring: Michael Fassbender, Liam Cunningham, Stuart GrahamBrutal and poignant in its dedication to the materialistic aspects of common humanity, Hunger reconfigures and reenergizes the formal potential of political filmmaking. Directed and co-written by installation artist and Turner Prize winner Steve

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-45782795140754068632009-01-17T14:03:00.008-08:002009-02-09T16:11:04.171-08:00

Written and directed by: Mike LeighCountry: United KingdomStarring: Sally Hawkins, Eddie Marsan, Alexis Zegerman, Sylvestra Le Touzel, Samuel RoukinHas Mike Leigh traded his characteristic social realist dramedies for an irritatingly perky character study? Not quite. Utilizing his trademarked improvisational techniques to build characters and story with his actors, Leigh had the gall to help

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-34818743381950902942009-01-17T14:03:00.007-08:002009-02-09T16:09:18.395-08:00

Directed by: Stephen ChowWritten by: Stephen Chow, Vincent Kok, Tsang Kan-Cheong, Sandy Shaw Lai-King, Fung Chih Chiang, Lam FungCountry: Hong Kong / ChinaStarring: Stephen Chow, Xu Jiao, Kitty Zhang Yuqi, Danny Chan Kwok Kuen, Tin Kai ManStephen Chow’s brand of goofball populism, even when coated in a family-friendly sheen, hits me in the right place. Seemingly a departure from his

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-34142376937917818162009-01-17T14:03:00.006-08:002009-02-09T16:07:44.008-08:00

Written and directed by: Joel and Ethan CoenCountry: USAStarring: Frances McDormand, George Clooney, Brad Pitt, John Malkovich, Tilda Swinton, Richard JenkinsIn the realm of terrific Coen brothers titles, Burn After Reading may be the best. It perfectly sums up the comedic holocaust that engulfs its characters in the end. It not only refers to the cloak-and-dagger plot but to the

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-8920829349517631562009-01-17T14:03:00.005-08:002009-02-09T16:05:37.375-08:00

Directed by: Johnnie ToWritten by: Chan Kin-Chung, Fung Chih-Chiang, Milkyway Creative TeamCountry: Hong KongStarring: Simon Yam, Kelly Lin, Lam Ka-Tung, Law Wing-Cheong, Kenneth CheungShot during a three-year period between other Milkyway Image projects, Johnny To’s newest film, compared to his previous ones, is still a heady brew of male camaraderie, extravagant cinematography, and

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-45262430505464494782009-01-17T14:03:00.003-08:002009-02-09T16:02:48.150-08:00

Directed by: Kelly ReichardtWritten by: Jonathan Raymond, Kelly ReichardtCountry: USAStarring: Michelle Williams, Will Patton, John Robinson, Wally Dalton, Larry FessendenKelly Reichardt’s brand of downbeat Americana, so manifest in the nostalgia and disconnectedness of the two men in Old Joy, fits well with Michelle Williams’s forlorn, destitute performance in Wendy and Lucy. Both the

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-82470073767427938192009-01-17T14:03:00.002-08:002009-02-09T16:00:38.293-08:00

Directed by: Toby WilkinsWritten by: Kai Barry, Ian Shorr, Toby WilkinsCountry: USAStarring: Shea Whigham, Paulo Costanzo, Jill Wagner, Rachel KerbsSeen at an all-night horror-fest (along with 35mm prints of Psycho, Jaws, and Dead Alive, among others), Splinter is a refreshingly well-paced and effectively acted horror flick, punctuated with leavening humor and imaginative effects work. The

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-12062179359551304902008-04-14T10:00:00.007-07:002008-04-21T08:50:27.672-07:00

As announced a month or so ago, this is a blog-a-thon to commemorate the fortieth anniversary of Andrew Sarris' The American Cinema, one of my personal favorite books on film and one of surpassing influence. Starting this week (and hopefully beyond), you'll be seeing entries on directors since 1968 from all around the blogosphere. If you want to contribute something, feel free to email me at

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com2tag:blogger.com,1999:blog-29325970.post-35362842683878122102008-04-14T00:00:00.003-07:002008-04-15T13:11:42.132-07:00

FILMS: 1992—Praying with Anger. 1998—Wide Awake. 1999—The Sixth Sense. 2000—Unbreakable. 2002—Signs. 2004-The Village. 2006—Lady in the Water. 2008—The Happening.The Shyamalan universe, with writer/director/producer/actor Shyamalan at the center, is rapidly contracting with each passing film. Two low-key, earnest efforts preceded his commercial breakthrough, The Sixth Sense, but even then aims

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com1tag:blogger.com,1999:blog-29325970.post-44683000833872377782008-04-02T17:17:00.006-07:002008-04-02T17:59:24.844-07:00

Equal parts overbearing Catholic allegory and interesting, visually unadorned on-location examination of the inhabitants of French village Sardent, Claude Chabrol’s debut Le Beau Serge (Handsome Serge), considered one of the opening salvos of the French New Wave, starts out strong and richly textured but eventually succumbs to an overly schematic and redemptive conclusion. Jean-Claude Brialy

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-3742474119287754252008-02-28T13:34:00.030-08:002008-03-02T14:30:33.567-08:00

About Andrew SarrisAbout The American CinemaThe gist of the blog-a-thonKnown as the bible of American auteurism, Andrew Sarris' The American Cinema: Directors and Directions 1929-1968 turns 40 this year. A compendium of critical commentary and categorization of cinema (sorry!), this enormously influential and eminently readable text tackled the history of American film as a history of dominant

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com12tag:blogger.com,1999:blog-29325970.post-11810416812886246252008-01-31T20:28:00.000-08:002008-01-31T21:56:18.560-08:00

The first in hopefully a series of images, sounds, and videos that, for this moment, capture the essence of "movieness" for me. Shout-out to if charlie parker was a gunslinger... and André Bazin for inspiration and a title.Steamboat Bill, Jr. (1928)

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-70256483589894485492008-01-15T12:06:00.000-08:002008-01-20T13:55:30.691-08:00

How to present a real person’s life? This is the central quandary of the biopic genre, and too often the answer according to filmmakers is to smooth out the unquantifiable human experience to fit the constraints of traditional dramatic structure. While not fully eschewing this linear, arc-filled mode of storytelling, I’m Not There (2007) and Mishima: A Life in Four Chapters (1985) take more

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com1tag:blogger.com,1999:blog-29325970.post-60553996905365128052007-08-25T15:35:00.002-07:002008-02-17T22:30:39.043-08:00

Alex Cox’s 1987 flick Straight to Hell is an odd duck, to say the least. Cult fans know its bizarre history already, but for the rest of you, here’s the rundown from an interview with the director on his personal website: Producer Eric Fellner planned to expand a Brixton show featuring the Pogues, Joe Strummer, and Elvis Costello benefiting the leftist Sandinista Liberation Front into a

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com2tag:blogger.com,1999:blog-29325970.post-92152353765530486212007-08-08T11:49:00.000-07:002007-10-23T20:37:46.923-07:00

21. A Face in the Crowd (57, Kazan)An extremely well-paced indictment of media saturation and superstardom. Making his film debut, America’s favorite sheriff Andy Griffith plays Lonesome Rhodes, a hobo/jailbird who becomes a radio and later TV folk hero with songs, wit, and not a little manipulation. Patricia Neal initially takes notice of him and is caught up in his media rise to fame. Kazan

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-23498296007257953242007-08-01T07:41:00.000-07:002007-10-23T20:37:36.034-07:00

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-5097608637014210392007-07-14T07:21:00.001-07:002008-03-08T18:18:59.507-08:00

Harry Potter has begun to truly grown up and with him the film series, for better or for worse, has outgrown the limiting drama of school life and childish make-believe into the realm of disenchantment. The awed faces of Harry (Daniel Radcliffe) and his cohorts at the Hogwarts School of Witchcraft and Wizardry have matured and become suspicious of adult authority, hardened by successively

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-84848731201161652412007-07-05T12:56:00.000-07:002007-10-23T20:37:51.218-07:00

11. The Conversation (74, Coppola)A paranoid masterpiece, one that rewards multiple viewings and features a career high performance from Gene Hackman. The morality of observation is meticulously probed by the team of Coppola, Hackman, and sound editor Walter Murch, not to mention by Bill Butler’s surveillance-like cinematography. Hackman’s Harry Caul is one of cinema’s great voyeurs, a troubled

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-89491856197798464902007-06-27T08:29:00.000-07:002007-10-23T20:37:54.992-07:00

This is similar to what Edward Copeland on Film, Jim Emerson, and The Siren are doing in response to the new AFI list, but not quite.I’m hardly the most absolutely qualified person to make such an alternative list, but I will take the same route of Jonathan Rosenbaum regarding the post-1997 version of the AFI list (see his cutting remarks here) and present my Alternative Top 100 American Films.

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com2tag:blogger.com,1999:blog-29325970.post-5805659720127779312007-04-13T11:02:00.000-07:002007-10-23T20:35:57.327-07:00

David Cronenberg is not a director for everyone. His very frank explorations of biology in relation to the human psyche can sicken or confuse viewers and critics alike. Still, his forays into borderline SF and fantasy have garnered a massive cult following – but A History of Violence is something new altogether. It is closest in tone to his 1996 film Crash, which alienated all but his most

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com1tag:blogger.com,1999:blog-29325970.post-1155431679235210072007-03-02T00:00:00.000-08:002007-10-23T20:36:01.002-07:00

This is my contribution to Quiet Bubble's Kieslowski Blog-a-thon, and my first contribution to any -thon, for that matter.To call Kieslowski’s Camera Buff simply a film about filmmaking would be to underestimate its elegant nuances and widespread artistic relevance. Without these added layers, the film would still be a solid portrait of a middle-class filmmaker’s evolution, but Kieslowski is far

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-38964246165903007432007-01-29T17:47:00.000-08:002007-10-23T20:36:05.677-07:00

The strongest source of inspiration (theft?) for the plot of Tarantino’s Kill Bill, The Bride Wore Black is Truffaut’s Hitchcock homage starring a beautiful but coldly rampaging Jeanne Moreau. She methodically murders two young men before we realize the motive to her madness: on her wedding day, her new husband was accidentally gunned down by a party of bachelors cleaning a rifle in a nearby

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-1168391712231441242007-01-09T17:09:00.000-08:002007-10-23T20:36:12.887-07:00

A dystopian thriller more in love with ideas than technology, Alfonso Cuarón’s viscerally impacting Children of Men posits a future worn down by harsh immigration laws and hopelessness stemming from nearly twenty years of female infertility. Set in a not-too-distant Britain, the film transforms from a carefully-composed excursion within a meticulously-designed world, into a sociopolitical

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-1166049016575332362006-12-13T14:21:00.000-08:002007-10-23T20:36:17.656-07:00

There are few clearer examples of the Cinema of Cruelty than Michael Haneke’s Funny Games. Ostensibly a tense, intricately-designed home invasion thriller, wherein a German nuclear family is terrorized by two young men, the film pokes, prods, and provokes via several choice breakings of the fourth wall. The killers appear, banter, and amorally control the cinematic universe. Mocking the

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-1164401590406247802006-11-24T12:50:00.000-08:002007-10-23T20:37:31.882-07:00

"I got poetry in me."-McCabe & Mrs. Miller.

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-1162864168604943282006-11-06T17:43:00.000-08:002007-10-23T20:36:22.755-07:00

Sacha Baron Cohen’s series Da Ali G Show is a masterwork of unscripted guerrilla comedy, featuring Baron Cohen, disguised as one of three stereotyped personalities, interviewing various individuals and exposing their ignorance or prejudices in the process. While the British hip hop/Afro-Caribbean parody Ali G and the flamboyantly homosexual Austrian Bruno are effective in pushing cultural buttons

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-1161575420512906972006-10-22T20:44:00.000-07:002007-10-23T20:36:26.919-07:00

War is hell. Calling a man a “hero” does not make him one. True heroes do not think of themselves as such. And, in the case of the WWII Marines in the world famous flag-raising photo of Iwo Jima, heroes are marketed, not made.All of these ideas are established by William Broyles, Jr.’s and Paul Haggis’s screenplay for Flags of Our Fathers, and then revisited…and revisited…and revisited. From a

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-1157381742452392572006-09-04T07:46:00.000-07:002007-10-23T20:36:32.043-07:00

It takes a deft hand to craft a children’s film without alienating a mature audience or simply resorting to visual and aural stimuli for 90 minutes. Children may not understand the implications or dimensions of a complex narrative, but adults, presumably, can remember when they were children; so the best children’s films have always appealed to both groups by tapping into a rich vein of

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com1tag:blogger.com,1999:blog-29325970.post-1155181369726930832006-08-09T20:42:00.000-07:002007-10-23T20:36:37.062-07:00

The message of Oliver Stone’s film of two Port Authority police officers trapped in the rubble of the World Trade Center towers is summed up in its epilogue; there is little to no subtlety or character development to be found; and the subplots are saccharine, melodramatic, or altogether unnecessary. And none of this really matters.What does matter is the simple earnestness in the performances of

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com2tag:blogger.com,1999:blog-29325970.post-1154739626496417562006-08-04T17:55:00.000-07:002007-12-07T13:32:02.284-08:00

The only similarity between the mid-‘80s series “Miami Vice” and its cinematic counterpart is the criticism-turned-credo “style over substance.” But whereas the TV show at least had sunny locales, hip music, and the pastel presences of Don Johnson and Philip Michael Thomas, Michael Mann’s re-imagined Miami Vice is mired in an incoherent plot, lifeless performances, and outrageous violence

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com1tag:blogger.com,1999:blog-29325970.post-1154214889044571412006-07-29T16:12:00.000-07:002007-10-23T20:36:47.833-07:00

There’s a central mystery in Peter Greenaway’s The Draughtsman’s Contract, one that’s existence is only gradually revealed and with clues literally lying around; but whether this mystery need be solved is another question entirely. Beyond the mere twists and turns of the Restoration-era setting and plot lies Greenaway’s fascinating formality of images, archly elevated dialogue, and ultimate

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-1150850008982299482006-06-20T17:20:00.000-07:002007-10-23T20:36:52.292-07:00

The unassuming grace of Ermanno Olmi’s early ‘60s feature, Il Posto (The Job), becomes even more apparent in the era of high concepts, expensive stars, and special effects. Employing amateurs and real citizens as extras, as well as filming in only actual locations, Olmi was able to elicit natural (not naturalistic) performances and involve the viewer in everyday life and struggles. If this

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-1150152034649717022006-06-12T15:17:00.000-07:002007-10-23T20:36:56.750-07:00

Even though it's about as Russian as Casablanca, Josef von Sternberg's masterful The Scarlet Empress eschews plot and dialogue for pure visual splendor. If the term "poetry" can be applied to visual images as well as to the written word, von Sternberg's film would most definitely warrant the label.Using the story of German princess Sophia's transformation into Catherine the Great (von Sternberg

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-1150067981604523712006-06-11T15:26:00.000-07:002007-10-23T20:37:01.462-07:00

As a long-time fan of Garrison Keillor's sophisticated anachronism of a variety radio show, "A Prairie Home Companion," I found that the film adaptation preserves the spirit if not the letter of the program. Full of country/gospel music and a stellar cast, not to mention the fluid direction of Robert Altman, Prairie mixes myth and fantasy (which is the radio show's stock and trade) with

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-1149984568717182192006-06-10T16:51:00.000-07:002007-10-23T20:37:05.937-07:00

Andrei Tarkovsky's diploma short film, Katok i skripka (The Steamroller and the Violin), is a heartfelt and visually-impressive melding of fantasy and realism. Seven-year-old Sasha (an affecting young Igor Fomchenko) is a boy ridiculed in his neighborhood for playing violin. The opening sequence follows him as he hides from bullies and gradually makes his way to his lesson, where fear of adult

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com1tag:blogger.com,1999:blog-29325970.post-1149784652703960662006-06-08T07:36:00.000-07:002007-10-23T20:37:10.544-07:00

"Love, or the lack of it."These few words encompass the only topics John Cassavetes ever wanted to tackle in his directorial career. Charles Kiselyak's A Constant Forge examines the filmmaker's career (from 1959's Shadows to 1984's Love Streams) and amounts to a marvelous, heartfelt love letter by fans, friends, and colleagues.Few directors elicit such strong emotional responses from audiences

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0tag:blogger.com,1999:blog-29325970.post-1149567504421793702006-06-05T20:46:00.000-07:002007-10-23T20:37:15.361-07:00

After this long, loving the quirky stylings of John Linnell and John Flansburgh (collectively known as They Might Be Giants) may seem like a mere phase, the briefly pseudo-intellectual, wry posturing that results from outgrowing adolescence. To others, TMBG's minimalist and fiercely independent aesthetic, lyrically and musically, continue to point toward a utopia of ideas never before heard. Very

Adam Khttp://www.blogger.com/profile/10697302492021271196noreply@blogger.com0