Viewing Journal 2008
* after title indicates
film was seen on dvd/video
^ after title indicates film was unfinished.
Title in italic
indicates that I had previously seen the film
Title in Blue is TV.
001. (Jan 01) THE KINGDOM (2007, Peter Berg)* 35
002. (Jan 01) THE ORPHANAGE (2007, Juan Antonio Bayona)* 53
003. (Jan 01) HATCHET (2006, Adam Green)* 37
Not to pick on an inexperienced craftsman but Will Barratt's cinematography really hurts this film; the night scenes are overlit when they should be dark and moody, like they should be showing on a television (a violent episode of Goosebumps perhaps or a very low-end Masters of Horror) and not in a theater on a bigscreen. There are some gruesome killings after the lugubrious setup, but they add very little beyond fodder for the Fangoria crowd.
004. (Jan 02) THERE WILL BE BLOOD (2007, Paul Thomas Anderson)* 95
005. (Jan 02) ZODIAC - DIRECTOR'S CUT (2007, David Fincher)* 78
Third viewing, first of Director's Cut (which is barely different from the theatrical cut). No change in grade from last viewing.
006. (Jan 03) THERE WILL BE BLOOD (2007, Paul Thomas Anderson)* 95
007. (Jan 04) HARD TIMES (1975, Walter Hill)* 79
008. (Jan 04) TERRIFYING GIRLS' HIGH SCHOOL: LYNCH LAW CLASSROOM (1973, Norifumi Suzuki)* 78
Second viewing, last seen 05-13-07. Same grade for this genre classic.
009. (Jan 04) DAWN OF THE DEAD (1978, George A. Romero)* 99
Umpteenth viewing, first since 10-25-02. Grade was 100. First film ever seen on a blu-ray disc.
010. (Jan 05) BADLANDS (1973, Terrence Malick)* 96
Second viewing, first in ten years.
011. (Jan 05) THE NEW WORLD (2005, Terrence Malick)* 93
Third viewing, second of theatrical cut. Last seen 5-18-06, given 92.
001. (Jan 06) THE WIRE 5.1: MORE WITH LESS (2008, d: Joe Chappelle, s: David Simon)* 74
002. (Jan 07) THE WIRE 5.2: UNCONFIRMED REPORTS (2008, d: Ernest Dickerson, s: William F. Zorzi)* 71
012. (Jan 11) SUNSHINE (2007, Danny Boyle)* 68
No Change in grade. The third act shift makes this one of the major heartbreakers of last year but it has stretches of greatness.
s001. (Jan 11) DAD'S DEAD (2002, Chris Shepherd)* NR
s002. (Jan 11) MOLE HILLS (2006, Dan Arnold)* NR
013. (Jan 11) SHOOT 'EM UP (2007, Michael Davis)* 25
014. (Jan 12) WAR (2007, Philip G. Atwell)* 30
015. (Jan 13) THE HEARTBREAK KID (2007 Bobby & Peter Farrelly)* 36
Malin Akerman is terrific here but this is pretty dire material and the Farrelly's can't do much to humanize these grotesque characters.
016. (Jan 13) THE HOAX (2006, Lasse Hallstrom)* 58
003. (Jan 14) THE WIRE 5.3: NOT FOR ATTRIBUTION (2008, d: Joy Kecken & Scott Kecken, s: Chris Collins)* 68
A transitional episode that is clearly setting up some awesome stuff to come.
004. (Jan 19) THE WIRE 3.1: TIME AFTER TIME (2004, d: Edward Bianchi, s: David Simon)* 83
005. (Jan 20) THE WIRE 5.3: NOT FOR ATTRIBUTION (2008, d: Joy Kecken & Scott Kecken, s: Chris Collins)* 70
006. (Jan 20) THE WIRE 3.2: ALL DUE RESPECT (2004, d: Steve Shill, s: Richard Price)* 86
"Where do you guys get those hats with the bills over the ear like that? I go into all the city stores and the only ones I can find are the ones with the bills in the front."
"No, it's the same. You just turn it sideways on your head."
007. (Jan 20) THE WIRE 3.3: DEAD SOLDIERS (2004, d: Rob Bailey, s: Dennis Lehane)* 78
008. (Jan 20) THE WIRE 3.4: AMSTERDAM (2004, d: Ernest Dickerson, s: George Pelecanos)* 84
009. (Jan 20) THE WIRE 3.5: STRAIGHT AND TRUE (2004, d: Daniel Attias, s: Ed Burns)* 79
010. (Jan 21) THE WIRE 5.4: TRANSITION (2008, d: Daniel Attias, s: Ed Burns)* 82
017. (Jan 26) STREAMERS (1983, Robert Altman)* 53
Second viewing, first in 10 years. Grade was much higher and I have no idea why.
018. (Jan 26) MAD DETECTIVE (2007, Johnny To & Wai Ka-Fai)* 60
019. (Jan 27) MAGNOLIA (1999, Paul Thomas Anderson) 93
Umpteenth viewing, second viewing in theater (last was 1999).
020. (Jan 27) BRINGING OUT THE DEAD (1999, Martin Scorsese)* 72
011. (Jan 28) THE WIRE 5.5: REACT QUOTES (2008, d:Ahnieszka Hollan, s: David Mills)* 74
021. (Feb 01) BOOGIE NIGHTS (1997, Paul Thomas Anderson) 90
Umpteenth viewing, second in the theater (last was 1997).
022. (Feb 03) CLOVERFIELD (2008, Matt Reeves) 47
023. (Feb 04) THE KING OF KONG: A FISTFUL OF QUARTERS (2007, Seth Gordon)* 68
024. (Feb 09) WE OWN THE NIGHT (2007, James Gray)* 77
012. (Feb 11) THE WIRE 5.6: THE DICKENSIAN ASPECT (2008, d: Seith Mann, s: Ed Burns)* 61
013. (Feb 11) THE WIRE 5.7: TOOK (2008, d: Dominic West, s: Richard Price)* 76
025. (Feb 16) GONE BABY GONE (2007, Ben Affleck)* 72
014. (Feb 18) THE WIRE 5.8: CLARIFICATIONS (2008, d: Anthony Hemingway, s: Dennis Lehane)* 79
026. (Feb 18) TORSO - US THEATRICAL CUT (1973, Sergio Martino) 58
The grade for the uncut DVD version remains 83. This version lacks a good deal of the violence and coherence of the preferred Anchor Bay cut of the film.
027. (Feb 23) MURDER PARTY (2007, Jeremy Saulnier)* 56
028. (Feb 24) THE NAKED PREY (1966, Cornel Wilde)* 75
029. (Feb 25) HALLOWEEN - UNRATED DIRECTOR'S CUT (2007, Rob Zombie)* 39
I assumed the gang war that broke out during my theatrical viewing of Zombie's Halloween had detracted from the experience. I assumed incorrectly, this is even spottier on second viewing where you can really see the wheels turning in the plot mechanics and trite back story elements of the first half. Zombie's flaws as a filmmaker have never been more pronounced than they are here; scenes don't have any structure or form to them, strange camera choices (usually close-ups) that strike a dissonant chord even in a piece that is already more or less tone deaf. No major differences between the "Director's Cut" and the original theatrical version, even though apparently about 12 minutes were added to the films bloated length.
030. (Feb 28) 30 DAYS OF NIGHT (2007, David Slade)* 28
031. (Feb 29) CHICAGO 10 (2007 Brett Morgen) 41
015. (Mar 01) THE WIRE 5.9: LATE EDITIONS (2008, d: Joe Chappelle, s: George P. Pelecanos)* 74
032. (Mar 01) THE DARJEELING LIMITED (2007, Wes Anderson)* 61
My problems with the busy art direction have calmed with this film on DVD and some of the plot mechanics are also less bothersome to me now, probably because I focused less on them and just went with the emotions of the piece.
033. (Mar 02) THE DAMNED (1969, Luchino Visconti) 44
034. (Mar 08) LA PROMESSE (1996, Jean-Pierre & Luc Dardenne) 70
035. (Mar 08) DARKTOWN STRUTTERS (1975, William Witney) 39
036. (Mar 09) BE KIND REWIND (2008, Michel Gondry) 50
016. (Mar 10) THE WIRE 5.10: -30- (2008, d: Clark Johnson, s: David Simon)* 64
Overall Average Grade for S5 is 73.
037. (Mar 11) PAYDAY (1973, Daryl Duke)* 54
039. (Mar 14) HARD TIMES (1975, Walter Hill) 83
040. (Mar 15) BEOWULF (2007, Robert Zemeckis)* 58
041. (Mar 16) KIDNAPPED (1974/2001, Mario Bava and Lamberto Bava) 48
I was much higher on the Rabid Dogs cut of this film (it's on my top ten list) and I really need to rewatch it to see what the hell went wrong here in this remixed version by Lamberto Bava. The only things that standout as being different working just from my memory are the inserted scenes of police procedural elements and a different, quite terrible score.
042. (Mar 16) SHOCK (1977, Mario Bava [and an uncredited Lamberto Bava]) 40
043. (Mar 22) SATANTANGO (1994, Bela Tarr) 62
044. (Mar 23) DAN IN REAL LIFE (2007, Peter Hedges)* 55
045. (Mar 23) IN BRUGES (2008, Martin McDonagh) 47
046. (Mar 23) THE BANK JOB (2008, Roger Donaldson) 43
047. (Mar 23) DOOMSDAY (2008, Neil Marshall) 40
048. (Mar 23) FUNNY GAMES (2007, Michael Haneke) 84
This is a scene-by-scene, shot-by-shot remake of the 1997 film which I saw most recently in 2006 and gave a 87.
049. (Mar 25) SNOW ANGELS (2007, David Gordon Green) 78
050. (Mar 28) THE FAMILY [aka VIOLENT CITY] (1970, Sergio Sollima) 35
051. (Mar 29) BOARDING GATE (2007, Olivier Assayas) 66
052. (Mar 29) ROSETTA (1999, Jean-Pierre & Luc Dardenne) 60
053. (Apr 04) THE LAST MOVIE (1971, Dennis Hopper) 31
054. (Apr 06) THE FASTEST GUN ALIVE (1956, Russell Rouse) 65
055. (Apr 06) WICKED WOMAN (1953, Russell Rouse) 62
056. (Apr 06) THE STORY OF MOLLY X (1949, Crane Wilbur) 44
057. (Apr 10) THE MAN BETWEEN (1953, Carol Reed) 70
058. (Apr 10) ONE WAY STREET (1950, Hugo Fregonese) 33
059 (Apr 12) STRANGER ON THE THIRD FLOOR (1940, Boris Ingster) 27
060. (Apr 12) THE FACE BEHIND THE MASK (1941, Robert Florey) 68
061. (Apr 12) GREMLINS 2: THE NEW BATCH (1990, Joe Dante) 81
062. (Apr 13) THE PRIVATE FILES OF J. EDGAR HOOVER (1977, Larry Cohen) 64
063. (Apr 13) MY BLUEBERRY NIGHTS (2007, Wong Kar-Wai) 51
064. (Apr 13) THE RUINS (2008, Carter Smith) 71
065. (Apr 19) THE VERDICT (1946, Don Siegel) 58
066. (Apr 19) WRONG IS RIGHT (1982, Richard Brooks) 26
067. (Apr 19) MANDA BALA (SEND A BULLET) (2007, Jason Kohn)* 44
068. (Apr 20) RED HEAT (1988, Walter Hill)* 46
069. (Apr 27) FORGETTING SARAH MARSHALL (2008, Nicholas Stoller) 59
070. (Apr 28) SHOTGUN STORIES (2007, Jeff Nichols) 67
071. (May 01) SOUTH PARK: BIGGER, LONGER & UNCUT (1999, Trey Parker)* 65
I wasn't a fan of the show at the time the movie came out and so I never bothered to see the movie, despite the acclaim from practically everyone upon release, but I have come to like the show more in recent years and always meant to catch up with the movie. I think this movie shows the early seasons of South Park in the best possible light; putting the scatological humor in a social commentary that has some bite to it, but Parker and Stone's more intelligent material surfaced after this movie when they became more critical in their observations and more experimental in the ways they tweaked their craft. The movie feels too long at 81 minutes and runs out of innovation early, padding out a typical storyline with too many songs and riffing on previous jokes rather than expanding upon them.
072. (May 04) SUNSHINE (2007, Danny Boyle)* 68
Third viewing, no change in grade.
073. (May 04) RAMROD (1947, André de Toth) 40
074. (May 04) BULLFIGHTER AND THE LADY (1951, Budd Boetticher) 52
075. (May 06) BATTLE SQUADRON (1969, Enzo G. Castellari) 54
076. (May 06) HIGH CRIME (1973, Enzo G. Castellari) 51
077. (May 09) A QUIET PLACE IN THE COUNTRY (1969, Elio Petri) 61
Very effective early when it is all mood and Ennio Morricone's brilliant abstract score adding tension and dissonance when there is no apparent reason for it. Shifts towards a ghost story eventually but it's too bad the film couldn't just maintain the level of abstraction of the opening section which is so wild and unpredictable. Great opening credits that recall Persona from three years previous.
078. (May 13) UNTRACEABLE (2008, George Hoblit)* 35
I think Hoblit is better than most at these disposable thrillers and he brings smart casting and a strong sense of location to a very dumb script that probably shouldn't have been brought to the screen by this particular group of players because the message and conviction they bring is continuously soured by hypocrisy.
079. (May 15) STANDARD OPERATING PROCEDURE (2008, Errol Morris) 55
080. (May 16) LITTLE MURDERS (1971, Alan Arkin) 74
Seen approx 8 years ago on VHS, first viewing in theater.
W/O. (May 16) DEATH LAID AN EGG (1968, Giulio Questi)
Walked after two reels because the print was terrible (a better version can be found on dvd/torrent sites) and I wasn't particularly engaged with it at roughly the half-way mark.
s003. (May 17) ANASTASIA (1962, Albert and David Maysles) NR
s004. (May 17) CUT PIECE (1965, Albert and David Maysles) R
s005. (May 17) IBM: A SELF PORTRAIT (1964, Albert and David Maysles) R
081. (May 17) THE BOOST (1988, Harold Becker) 52
082. (May 18) REDBELT (2008, David Mamet) 44
083. (May 18) MULBERRY STREET (2006, Jim Mickle)* 51
084. (May 23) DILLINGER IS DEAD (1969, Marco Ferreri) 83
s005. (May 24) MEET MARLON BRANDO (1965, Albert Maysles, David Maysles and Charlotte Zwerin) R
s006. (May 24) ORSON WELLES IN SPAIN (1966, Albert and David Maysles) R
s007. (May 24) A LOVE STORY (1974, Albert and David Maysles) NR
Not listed on IMDB or the Maysles website, this is a featurette made for Martin Ritt's Conrack (1974)
s008. (May 24) UNTITLED (1966, Albert and David Maysles) R
Not listed on IMDB or the Mayles website, this is a film that covers the European film scene of 1966 with a visit to the set of Grand Slam (?) with Edward G. Robinson doing his best impersonation of Edward G. Robinson, Fearless Vampire Killers with Roman Polanski doing a sketch of himself and Grand Prix with James Garner pointing out that the helicopters fly aggressively to follow the cars.
s009. (May 24) WITH LOVE FROM TRUMAN (1966, Albert Maysles, David Maysles and Charlotte Zwerin) R
I could have sworn the title was "The Nonfiction Novel: A Conversation with Truman Capote," but what do I know?
085. (May 25) RAIDERS OF THE LOST ARK (1981, Steven Spielberg)* 54
First viewing in probably about twenty years.
086. (May 25) PLAYTIME (1967, Jacques Tati) 78
Partially viewed before on DVD before I gave up and opted to wait for a 70mm screening. This was that 70mm screening and it is indeed a graceful and funny film in that format. The final sequence of ordinary life turned into an amusement park is absolutely dazzling.
087. (May 26) DJANGO KILL ... IF YOU LIVE, SHOOT (1967, Giulo Questi)* 36
088. (May 26) LEGENDARY WEAPONS OF CHINA (1982, Liu Chai-Liang)* 69
089. (May 26) INDIANA JONES AND THE LAST CRUSADE (1989, Steven Spielberg)* 42
First viewing in 19 years, when I liked it but was 8 years old. I average 44 on the original trilogy and I'm second-guessing even seeing the new one at this point.
090. (May 26) RECOUNT (2008, Jay Roach)* 53
091. (May 28) RAMBO (2008, Sylvester Stallone)* 45
092. (May 31) ZARDOZ (1974, John Boorman) 37
093. (Jun 01) FIRST BLOOD (1982, Ted Kotcheff)* 56
Might have been a good film with a more even-handed approach to the cop characters.
094. (Jun 04) RAMBO: FIRST BLOOD PART II (1985, George P. Cosmatos)* 21
Stupid and inept film that answers the Studio question "How do we get Rambo back to Vietnam when the war has been over for a decade?" with a retarded grunt and a declarative "I like violence."
095. (Jun 05) CLEANER (2007, Renny Harlin)* 33
Stupid and nearly inept. My respect for Renny Harlin as a competent workman continues to decline.
096. (Jun 08) DIRTY HARRY (1971, Don Siegel)* 63
Second complete viewing, first in widescreen. Hugely influential on the Italian poliziotteschi and American exploitation films of the 70s with the jazzy, abstract score, go-for-broke cop and beautiful scope compositions. Otherwise, this film creaks a bit because it is so simple-mindedly plotted and many of the set-pieces have been recycled for years now to the point where they have become genre standards.
097. (Jun 08) MAGNUM FORCE (1973, Ted Post)* 60
Confronts the criticism that Dirty Harry was a fascist film with a set of villainous cops who are actually a fascist elite squad that take criminals into their own hands and so the bad guys are allowed slightly more dimension than the Scorpio cartoon from Dirty Harry, but the film doesn't really have much interest in confronting the social commentary implicit in the plot and is too busy recycling the plot elements from the previous film in lazy but entertaining ways. Also, Ted Post is sure no Don Siegel.
098. (Jun 08) BREEZY (1973, Clint Eastwood) 53
Far more interesting as a 60s versus 50s generational critique rather than the March-December romance that develops in an increasingly formulaic manner.
099. (Jun 08) HONKYTONK MAN (1982, Clint Eastwood) 65
Partially viewed previously as a youngster. Aimless and wandering but never-the-less entertaining coming-of-age story that serves as a precursor to what Eastwood would succeed at to a greater extent a decade later with A Perfect World.
100. (Jun 11) FRENCH CONNECTION II (1975, John Frankenheimer) 77
This basically abandons the cinema verite style of the William Friedkin original for an abstract, muscular-minimalism that still maintains much of the authenticity of the original. I would wager there are fewer than a dozen lines in English that actually move the skeletal plot forward which allows Frankenheimer the opportunity to make a very stripped down film. The middle section where the tables are turned on Doyle and his character is turned inside out is fantastic; as is the final action sequence which leads to one of the great abrupt endings I've ever seen.
s010. (Jun 13) BEER PARADE (1933, Dick Huemer) R
101. (Jun 13) MASSACRE AT CENTRAL HIGH (1976, Rene Daalder) 54
Second viewing, last seen about ten years ago on VHS, when I liked it much more.
102. (Jun 14) THE INCREDIBLE HULK (2008, Louis Leterrier) 42
I was in the same grade neighborhood on Ang Lee's HULK five years ago and I think a lot of the problems lie with the Hulk story. The relationships are too conveniently lined with coincidence and the Hulk to too impervious to attack and disconnected from humanity to be engaged with. Norton, Penn and Leterrier try to add some humor to the Hulk mythology which is effective but the film is never light on its feet and could have been more effective at a leaner running time.
103. (Jun 14) IRON MAN (2008, Jon Favreau) 46
Speaking of more effective at a leaner running time, there is no reason this film needed to be over two hours and it's too bad that Favreau didn't stick to the material that was more in his range; the light, verbal comedy rather than the bloated action nonsense that engulfed the final third of the running time.
104. (Jun 15) THE SIGNAL (2007, David Bruckner, Jacob Gentry and Dan Bush)* 56
The breakdown goes'a something like this:
TRANSMISSION 1: CRAZY IN LOVE (David Bruckner) 70
TRANSMISSION 2: THE JEALOUSY MONSTER (Jacob Gentry) 41
TRANSMISSION 3: ESCAPE FROM TERMINUS (Dan Bush) 56
105. (Jun 15) INDIANA JONES AND THE KINGDON OF THE CRYSTAL SKULL (2008, Steven Spielberg) 40
106. (Jun 15) THE STRANGERS (2008, Bryan Bertino) 65
107. (Jun 15) THE HAPPENING (2008, M. Night Shyamalan) 27
108. (Jun 16) [REC] (2007, Jaume Balaguerò & Paco Plaza)* 80
109. (Jun 16) THE FLOCK (2007, Andrew Lau)* 31
110. (Jun 19) THE MACHINE GIRL (2008, Noboru Iguchi)* 6
111. (Jun 20) HEARTBEAT DETECTOR (2007, Nicolas Klotz) 65
112. (Jun 20) LET THE RIGHT ONE IN (2008, Tomas Alfredson) 42
113. (Jun 21) THE MONEY PIT (1986, Richard Benjamin)* 33
I last saw this when I was about 6 years old, I quite enjoyed it then.
114. (Jun 21) LA FRANCE (2007, Serge Bozon) 56
115. (Jun 21) ELITE SQUAD (2007, José Padilha) 30
116. (Jun 22) THE ENFORCER (1976, James Fargo)* 49
117. (Jun 22) EIGHT DIAGRAM POLE FIGHTER (1983, Liu Chai-Liang) 75
Second viewing, last seen 10-05-04 on dvd.
118. (Jun 23) SUDDEN IMPACT (1983, Clint Eastwood)* 58
Secon viewing, first about a decade.
119. (Jun 23) MCCABE & MRS. MILLER (1971, Robert Altman) 98
Third viewing, first in theater.
W/O. (Jun 24) THE MAKIOKA SISTERS (1983, Kon Ichikawa)
120. (Jun 24) MY WINNIPEG (2007, Guy Maddin) 76
Maddin operating near peak form with casually funny observations about Winnipeg and his own autobiography and previous film works. He creates something here that is perhaps most similar to The Fiery Furnaces underrated masterpiece "Rehearsing My Choir," where reality and fantasy are layered upon each other to create a personal history that combines different forms and texts into a metahistory; commenting upon the need to create a history, while also creating something dauntingly original and moving.
121. (Jun 24) FEAR(S) OF THE DARK (2007, Blutch, Marie Caillou, Pierre Di Sciullo, Jerry Kramski, Lorenzo Mattotti, Richard McGuire, Michel Pirus & Romain Slocombe) 63
Striking Black & White animation and a sustained tense atmosphere overcome the usual limitations of the anthology genre. The use of black in the final section is particularly awesome.
122. (Jun 25) THE DEAD POOL (1988, Buddy Van Horn)* 51
123. (Jun 25) CHOKE (2008, Clark Gregg) 39
Fight Club by way of High Fidelity but something goes deeply wrong when combining those two world views and embracing elements of satire from the former into a new age, whining Romantic Comedy.
124. (Jun 25) SHADOWS (1959, John Cassavetes) 54
s011. (Jun 25) THE NEW YORKIST (2007 Dana O'Keefe) NR
125. (Jun 25) THE PLEASURE OF BEING ROBBED (2008, Joshua Safdie) 60
Somewhere between Mumblecore and French New Wave you will find this slight, precious film which just floats from moment to moment barely bothering to build scenes or sequences; it's all about small moments. Kind of built to evaporates right before your eyes but, surprisingly, I have found myself thinking back on it even more fondly than the grade would indicate. Safdie is one to watch.
126. (Jun 26) BALLAST (2008, Lance Hammer) 34
Unconvincing regional realism; with a mannered screenplay and performers not up to the heavy-lifting that is required of them.
127. (Jun 26) CARGO 200 (2007, Alexey Balabanov) 41
The plot is strung with such outrageous coincidences and twists of logic that I can't help but read it as a parable about the evils of communism in its waning days. However, as such it is toothless and mechanics are too confused to have much impact beyond disgust at the visceral sadism.
128. (Jun 27) BAGHEAD (2008, Jay Duplass & Mark Duplass) 66
129. (Jun 27) BAY OF ANGELS (1963, Jacques Demy) 73
130. (Jun 27) MODEL SHOP (1969, Jacques Demy) 58
131. (Jun 28) REUNION (1989, Jerry Schatzberg) 40
132. (Jun 28) THE YOUNG GIRLS OF ROCHEFORT (1967, Jacques Demy) 93
133. (Jun 28) THE UMBRELLAS OF CHERBOURG (1964, Jacques Demy) 99
134. (Jun 29) HELLBOY - UNRATED DIRECTOR'S CUT (2004, Guillermo Del Toro)* 46
135. (Jun 29) ROMAN POLANSKI: WANTED AND DESIRED (2008, Marina Zenovich)* 61
s012. (Jun 29) PRESTO (2008, Doug Sweetland) NR
136. (Jun 29) WALL•E (2008, Andrew Stanton) 49
137. (Jun 30) PREDATOR (1987, John McTiernan)* 67
Umpteenth viewing, first complete viewing in more than ten years.
138. (Jun 30) WHITE DOG (1982, Samuel Fuller) 68
Second viewing, first in theater; last seen 6-19-03 on bootleg DVD when the grade was 70.
139. (Jul 01) WANTED (2008, Timur Bekmambetov) 42
140. (Jul 02) PERSEPOLIS (2007, Vincent Paronnaud & Marjane Satrapi)* 59
141. (Jul 02) ENCOUNTERS AT THE END OF THE WORLD (2007, Werner Herzog) 70
142. (Jul 02) ALICE DOESN'T LIVE HERE ANYMORE (1974, Martin Scorsese) 88
143. (Jul 03) BAD BOYS (1995, Michael Bay)* 25
Second viewing, first since theater thirteen years ago. I would have probably been in the 50s then.