Thursday, August 28, 2008
Wednesday, August 20, 2008
Friday, August 1, 2008
Meowr: Angelina wants to play Selina Kyle?
from comicbookmovie.com
Sexy action star Angelina Jolie has inquired about playing the feline role of Catwoman in the next Batman sequel--this according to senior Catwoman actress Julie Newmar.
Newmar, who made the role famous in the cornball Batman of the 1960s, told the New York Daily News: "Angelina would own the part. My industry friends tell me (she) has made inquiries about the role. I can understand how it would pique her interest. Catwoman is Batman's one true love. She's tremendously popular with women because she's both a heroine and a villainess."
P.S.
I have to take down the link to the leaked Wolverine trailer i posted the other day because 20th Century Fox had it taken down. Filschool rejects has this to say:
At the request of 20th Century Fox, we have removed this badass footage… Don’t act like you didn’t see that coming… We will, of course, keep you updated as more official footage and images are released.
So sa mga hindi nakaabot, malas niyo, mon ami. C'est la vie. Ha ha.
Photo from icanhascheezburger.com
Friday, July 25, 2008
What Bush and Batman Have in Common By ANDREW KLAVAN
What Bush and Batman Have in Common
By ANDREW KLAVAN
from Wall Street Journal Online
25 July 2008
And like W, Batman understands that there is no moral equivalence between a free society -- in which people sometimes make the wrong choices -- and a criminal sect bent on destruction. The former must be cherished even in its moments of folly; the latter must be hounded to the gates of Hell.
"The Dark Knight," then, is a conservative movie about the war on terror. And like another such film, last year's "300," "The Dark Knight" is making a fortune depicting the values and necessities that the Bush administration cannot seem to articulate for beans.
Conversely, time after time, left-wing films about the war on terror -- films like "In The Valley of Elah," "Rendition" and "Redacted" -- which preach moral equivalence and advocate surrender, that disrespect the military and their mission, that seem unable to distinguish the difference between America and Islamo-fascism, have bombed more spectacularly than Operation Shock and Awe.
Why is it then that left-wingers feel free to make their films direct and realistic, whereas Hollywood conservatives have to put on a mask in order to speak what they know to be the truth? Why is it, indeed, that the conservative values that power our defense -- values like morality, faith, self-sacrifice and the nobility of fighting for the right -- only appear in fantasy or comic-inspired films like "300," "Lord of the Rings," "Narnia," "Spiderman 3" and now "The Dark Knight"?
The moment filmmakers take on the problem of Islamic terrorism in realistic films, suddenly those values vanish. The good guys become indistinguishable from the bad guys, and we end up denigrating the very heroes who defend us. Why should this be?
The answers to these questions seem to me to be embedded in the story of "The Dark Knight" itself: Doing what's right is hard, and speaking the truth is dangerous. Many have been abhorred for it, some killed, one crucified.
Leftists frequently complain that right-wing morality is simplistic. Morality is relative, they say; nuanced, complex. They're wrong, of course, even on their own terms.
Left and right, all Americans know that freedom is better than slavery, that love is better than hate, kindness better than cruelty, tolerance better than bigotry. We don't always know how we know these things, and yet mysteriously we know them nonetheless.
The true complexity arises when we must defend these values in a world that does not universally embrace them -- when we reach the place where we must be intolerant in order to defend tolerance, or unkind in order to defend kindness, or hateful in order to defend what we love.
When heroes arise who take those difficult duties on themselves, it is tempting for the rest of us to turn our backs on them, to vilify them in order to protect our own appearance of righteousness. We prosecute and execrate the violent soldier or the cruel interrogator in order to parade ourselves as paragons of the peaceful values they preserve. As Gary Oldman's Commissioner Gordon says of the hated and hunted Batman, "He has to run away -- because we have to chase him."
That's real moral complexity. And when our artistic community is ready to show that sometimes men must kill in order to preserve life; that sometimes they must violate their values in order to maintain those values; and that while movie stars may strut in the bright light of our adulation for pretending to be heroes, true heroes often must slink in the shadows, slump-shouldered and despised -- then and only then will we be able to pay President Bush his due and make good and true films about the war on terror.
Perhaps that's when Hollywood conservatives will be able to take off their masks and speak plainly in the light of day.
Mr. Klavan has won two Edgar Awards from the Mystery Writers of America. His new novel, "Empire of Lies" (An Otto Penzler Book, Harcourt), is about an ordinary man confronting the war on terror.
By ANDREW KLAVAN
from Wall Street Journal Online
25 July 2008
A cry for help goes out from a city beleaguered by violence and fear: A beam of light flashed into the night sky, the dark symbol of a bat projected onto the surface of the racing clouds . . .
Oh, wait a minute. That's not a bat, actually. In fact, when you trace the outline with your finger, it looks kind of like . . . a "W."
Oh, wait a minute. That's not a bat, actually. In fact, when you trace the outline with your finger, it looks kind of like . . . a "W."
And like W, Batman understands that there is no moral equivalence between a free society -- in which people sometimes make the wrong choices -- and a criminal sect bent on destruction. The former must be cherished even in its moments of folly; the latter must be hounded to the gates of Hell.
"The Dark Knight," then, is a conservative movie about the war on terror. And like another such film, last year's "300," "The Dark Knight" is making a fortune depicting the values and necessities that the Bush administration cannot seem to articulate for beans.
Conversely, time after time, left-wing films about the war on terror -- films like "In The Valley of Elah," "Rendition" and "Redacted" -- which preach moral equivalence and advocate surrender, that disrespect the military and their mission, that seem unable to distinguish the difference between America and Islamo-fascism, have bombed more spectacularly than Operation Shock and Awe.
Why is it then that left-wingers feel free to make their films direct and realistic, whereas Hollywood conservatives have to put on a mask in order to speak what they know to be the truth? Why is it, indeed, that the conservative values that power our defense -- values like morality, faith, self-sacrifice and the nobility of fighting for the right -- only appear in fantasy or comic-inspired films like "300," "Lord of the Rings," "Narnia," "Spiderman 3" and now "The Dark Knight"?
The moment filmmakers take on the problem of Islamic terrorism in realistic films, suddenly those values vanish. The good guys become indistinguishable from the bad guys, and we end up denigrating the very heroes who defend us. Why should this be?
The answers to these questions seem to me to be embedded in the story of "The Dark Knight" itself: Doing what's right is hard, and speaking the truth is dangerous. Many have been abhorred for it, some killed, one crucified.
Leftists frequently complain that right-wing morality is simplistic. Morality is relative, they say; nuanced, complex. They're wrong, of course, even on their own terms.
Left and right, all Americans know that freedom is better than slavery, that love is better than hate, kindness better than cruelty, tolerance better than bigotry. We don't always know how we know these things, and yet mysteriously we know them nonetheless.
The true complexity arises when we must defend these values in a world that does not universally embrace them -- when we reach the place where we must be intolerant in order to defend tolerance, or unkind in order to defend kindness, or hateful in order to defend what we love.
When heroes arise who take those difficult duties on themselves, it is tempting for the rest of us to turn our backs on them, to vilify them in order to protect our own appearance of righteousness. We prosecute and execrate the violent soldier or the cruel interrogator in order to parade ourselves as paragons of the peaceful values they preserve. As Gary Oldman's Commissioner Gordon says of the hated and hunted Batman, "He has to run away -- because we have to chase him."
That's real moral complexity. And when our artistic community is ready to show that sometimes men must kill in order to preserve life; that sometimes they must violate their values in order to maintain those values; and that while movie stars may strut in the bright light of our adulation for pretending to be heroes, true heroes often must slink in the shadows, slump-shouldered and despised -- then and only then will we be able to pay President Bush his due and make good and true films about the war on terror.
Perhaps that's when Hollywood conservatives will be able to take off their masks and speak plainly in the light of day.
Mr. Klavan has won two Edgar Awards from the Mystery Writers of America. His new novel, "Empire of Lies" (An Otto Penzler Book, Harcourt), is about an ordinary man confronting the war on terror.
Tuesday, July 15, 2008
Thursday, May 15, 2008
AGAIN! I'M SELLING MOLESKINES!!!
Yesiree. We're selling them once again.
These notebooks have proven they can withstand the trials of travel and abuses that ensues from normal use. This is the one true trusted travel journal. More of information its history HERE and HERE.
THE MOLESKINE NOTEBOOKS have a cardboard bound cover and with rounded corners, a bookmark and an elastic closure. An expandable inner pocket made of cardboard and cloth contains the Moleskine history. The acid free paper pages are thread bound.
Pocket size: 9 x 14 cm (3½ x 5½")
Large size: 13 x 21 cm (5 x 8¼").
Available formats:
Pocket: 192 pages.
Large: 240 pages.
Pocket: 80 pages.
Large: 100 pages.
POCKET-SIZE NOTEBOOKS ONLY PHP 650.00!!!
LARGE NOTEBOOKS ONLY PHP 750.00!!!
GREAT GIFT IDEA for professional writers, artists, doodlers, and scribblers, especially those who want to keep their work to last a long time.
FOR ORDERS, CONTACT ME AT 0917-518-7770 OR JASMINE AT 0917-897-8562. Meet-ups can be arranged preferably on weekends in places near UP Diliman or landmarks along Edsa. Inquiries are welcome if you're looking for other formats.
Ayus.
Thursday, May 8, 2008
IRON MAN FTW!!!! and G.I. Joe movie teaser pics
Still reeling from the intensity of the Iron Man movie (cue Black Sabbath riff), I went researching for upcoming comic book movies (and I did that just a few minutes ago, before I go out of the office for the weekend. Busy-ness).
Comicbookmovie.com says that the THIRD Iron Man movie might as well be The Avengers movie, which makes sense since Marvel is releasing Captain America and Thor in the next few years. I confess that I left the cinema just when the credits rolled because my dam of a bladder is going to burst, failing to see the "Avengers Initiative" cameo by Samuel L. Jackson, but I already saw it coming, the teaser-reading bastard I am.
I am now waiting for the Batman movie. I think I have to pee. Wait lang. *leaves
*returns.
Here are more reasons to curse your urethra and your liquid intakes. YO JOE!!!
DUKE
SCARLETT
BARONESS
DESTRO
STORMSHADOW
SNAKE EYES
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