"Mayo is sick." REVIEW

Paranoid Park-2008-Gus Van Sant

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"I don't know if I'm ready for Paranoid Park" Alex says while skateboarding down an empty sidewalk with his friend Jared. Jared replies with assurance, "Yeah, but no one's ever really ready for Paranoid Park."

And so goes Gus Van Sant's film, released earlier this year. Paranoid Park is a work of lush visuals, deliberate yet soulful pacing, and cinematic experience. The film isn't told through basic story telling techniques, but told through the mind of a teenage boy who is revealing his guilt to us, one memory at a time.

In Paranoid Park we follow Alex, a young skateboarder stuck in the middle of everything. He has a best friend he skates with, a girlfriend he wants to break up with, and parents who are separated. Throughout the course of the film we witness a horrific accident that Alex is somehow involved in that offers him a tidal wave of guilt and fear.

What Van Sant brilliantly executes with such an idea is to not set us into any cliche' territory. This could easily become some sort of neo-noir or detective film, or it could easily become a gripping drama about a teenage kid dealing with teenage life. Instead, Van Sant simply allows us to experience the inner workings of Alex's head. Much like the 8mm footage of the skateboarders going up and down effortlessly throughout the lively hills and dips of the skatepark, we are lost in Alex's head, just drifting, hoping we just land without a problem.
Alex is given advice by a friend to write down his thoughts, just to get them out. We see, various times, Alex, slowly writing the words on paper; Paranoid Park, as if each letter is fighting to stay within the led of the pencil. Through this letter, we get Alex's narration, performed perfectly by Gabe Nevins, who is a non-actor. It's almost as if the words aren't written. The way in which Alex speaks is so honest that it's hard to believe that these words didn't just find themselves on the tip of his tongue just before he speaks them. Van Sant casts the entire film to perfection, with the exception of Alex's girlfriend Jennifer(Taylor Momsen) who is truly awful. Ironically enough, she is, I believe, the only actual actor in the film. She played Cindy Lou Who in Ron Howard's totally forgettable How The Grinch Stole Christmas.

The score is also a form of brilliance. It's lush instrumentals and soft rhythms add to the ebb and flow of the film, which rolls along as if it were an ocean, rhythmically moving, like it's known no other form of movement.
By the time we reach the end of the 80 minute's or so, you realize how perfectly timed and paced Van Sant made this film. It is rare to see such confidence by a director. Van Sant seemed to know exactly what he wanted to do with every cut, every long take, there isn't a second wasted.

In a time where skateboarders in film have become stereotyped to either encapsulate idiotic punks, or uber cool kids who just replaced a football with a skateboard, it's nice that Van Sant had the capacity to actually make a film with skateboarding, and not allow cool tricks or radical dudes to take over the screen. Paranoid Park is just a simple, intimate portrait of a teenager dealing with guilt and fear. Don't expect a climax, or pay off in the end, that's not what this film is, it's almost like a journey that you are only in the middle of once the credits start rolling.

"I dream about being with you forever. " REVIEW

Twilight-Catherine Hardwicke-2008

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Not to be confused with the 1998 Paul Newman film, Twilight, directed by Catherine Hardwicke, is the new it thing among teens. A young adult novel, written by Stephanie Meyer, adapted for the screen, is not unlike another book turned film that had tweens and teens in a frenzy. I am recalling the seven part saga that is known as the Harry Potter series. Now about to release it's sixth film, Harry Potter is always among the highest grossing films of the year. The comparison is apt, but does it really seem fair? Is the recent Twilight frenzy just a new ploy to get the kids filling the seats or is there a level of depth, as I would argue that the Harry Potter series has, hidden within this myriad of romance, love and, of course, vampires.

Twilight follows Bella(Kristen Stewart) as she moves in with her father in a Washington town called Fords, while her mother and step father are on the road with his minor league baseball team. She attends the local high school where she meets a group of friends and is quickly accepted as part of their clique. Amongst this clique we get a slew of fun, quirky characters. The one that stuck out to me was Anna Kendrick, playing Jessica Stanley. Kendrick has impeccable comic timing, as well as an innate sense of how the character would react under any circumstances. She really is such a minor character, but I left the theatre thinking about her performance(which was reminiscent of the great Kristen Wiig of SNL fame).

Anyways, we were just getting to the juicy part. All of the sudden, one day, Bella sees this totally HAWT guy named Edward Cullen(a heavily made up Rob Pattinson) and is like totally unable to keep her eyes off of him. After initially being put off, they become friends and then realize their deep connection, until, she finds out his dark secret. He's a V-A-M-P-I-R-E. Wouldn't you know it, all the good ones are either taken, gay, or immortal, mythological, blood sucking extortioners who are unable(or in this case unwilling, I guess) to be seen in the sun.

So Bella and Edward fall in love and so on and so on...

This is what the kids are eating up these days? This is an obvious new take on the Romeo and Juliet story. Which in itself has been played out over thousands of times in all different types of settings. I enjoy the idea, and maybe the book is better, but the film is filled with problems, that I'm not sure I would care to see fixed.

After the initial opening, we are thrust into this new world with Bella, who we get to know from her voice over. I like the way in which we see everything through Bella's eyes. We learn new things as she does. Rarely, if ever, is there a time that we know something she doesn't or vice versa(besides that fact that we already know Edward is a vampire). The film takes it's time setting things up, but after the first act decides that Bella has realized that Edward is a vampire. This seems a little ludicrous to me, although the clues are obvious I guess. But really, vampire? How many times have a number of odd things happened to you with another person and it crossed your mind that they are possibly of another species.

Herein lies the films major problem, why are there vampires? Really...I'm curious...Is it at all relevant to what's going on between the characters? There can be a connection made that, in Edwards case, his blood lust is a metaphor for his hormones raging for Bella. I believe the case for this is strong, and interesting. We are given a scene where Edward and Bella begin getting physical but Edward jumps back, and comments on how he might give in to the temptation. Of course, in the film, he is talking about sucking her blood, which is amazingly more appropriate for families to sit and watch together than sex is on the big screen, but that's another thing altogether. The sweetness comes from what happens next. Edward and Bella spend the night together talking, laughing and cuddling. It's a little cheesy, but I was heartwarmed by the idea that love can grow and become fruitful without the sex. It's an interesting thought nonetheless.

Where this theory leaves us though is asking why are there other vampires then? are they too wrestling with hormonic passion? Not really. It would have been interesting to see it play out that they all have their vices that their lust for blood becomes a metaphor of. No examples come to mind, but it could have become about obsession and where our lusts take us(for power, money, sex, etc.). The problem with this, is that that also lives within another film altogether. This is a love story. While a lot of the focus is reliant on that, it seems they detract from it often to show some "cool" vampire doings, like playing baseball? Uh, while it is definitely an original idea to see vampires play America's favorite past time, where is the relevance?


Overall the film is a total bore. It is a film that most Hollywood producers foam at the mouth for screaming, "It has romance, action, and laughs(albeit these are a little sparse)!" You would think this could be a film that would sell to young girls(romance) young guys (action) and anyone else that are interested in romantic action or action filled romance(What most films try to do actually). Twilight chugs along with absolutely no tension, no suspense and worst of all, no heart.

Hardwicke really fails at everything here. Her direction seems to be totally complacent and without and kind of inspiration. She seems to have just set up cameras and asked the characters to act out the book. Never was there a time where I forgot I was in a movie theatre. Never was there a time where I feared for a characters safety. Never was there a sense of danger or excitement. Am I too old for this? Is it just that I am not the target audience? I feel that critics are being disingenuous to young girls when saying, "Well, it's a bunch of crap, but young girls will eat it up". Why do we not say the same thing when Transporter 3 is released? "Well it's a load of crap, but the young boys will all go crazy for it". Yes, this film does have a few touching moments, but the directing was a huge let down, even with material that isn't that groundbreaking to begin with.

This film will make loads of money though, as will the rest of the franchise. I'm just hoping it ages, like the Harry Potter series has, and gets better as the series goes along(this is not to say that each Potter film has been subsequently better). If not, and the money still roles in, then we blame it on the 14 year old girls.

Catching up...

So I decided, since there is only one month left in the year, I have seen only roughly 50-60 films released this year. There are about 10-15 I haven't seen that I wish to see that have already been released, and most are on DVD. I would really like to have an expansive view of 2008, and be able to look back on the year with a top ten list and such and actually have a real opinion on a lot of films. So I can be sure of my opinions on this years films that I will be watching a whole lot of this month, I will be writing reviews for each one. The films I have yet to see that are released on DVD that I plan on getting into are:

Paranoid Park
The Visitor
Transsiberian
Man On Wire
Red Belt
Bigger Stronger Faster
Standard Operating Procedure
The Flight of The Red Balloon
The Bank Job
The Hammer
The Band's Visit
Funny Games
Son of Rambow

I will still be trying to get in weekly reviews of theatrical films, soon enough Twilight and Milk will be given the Deadpan rundown.

Another note I wanted to make on my Man Crush list. I am so upset that I totally forgot to add Jack Lemmon to the list. He would easily be top 2 or 3.

"There are nearly 13 million people in the world, none of them are an extra." REVIEW

Synecdoche, New York-Charlie Kaufman-2008

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It isn't often that we are offered a film such as this. Charlie Kaufman's latest opus Synecdoche, New York has left many a viewer baffled at it's sheer audacity, at it's total disregard for regularity, at it's blatant lack of "American" filmmaking. It's easy to be afraid while viewing such a film, but it is such a film that should be championed.

Kaufman is the screenwriter of such art house fare as, Being John Malkovich, Adaptation and Eternal Sunshine of the Spotless Mind. With all the credibility he has garnered from his outstanding run of film's, Synecdoche is his directorial debut.

The film follows Caden Cotard(Phillip Seymour Hoffman), a married theatre director with a four year old daughter. Caden is constantly worried about death. He directs a rendition of Death Of A Salesman, using young people in the place of the main characters. After Caden's wife, Adele(Catherine Keener), leaves him, taking their four year old daughter Olive, Caden's fears grow. He loses track of time, even going so far as believing his wife has only been gone a week, when, in fact, it has been a year. As the saying goes, "Time flies when you're having fun", no one mentions the fact that time basically only flies whenever we don't want it to.

Caden then receives a MacArthur Genius Grant, and decides he wants to do something with his life. He wants to create a huge masterpiece of theatre using truth as his guide. He creates a life-size replica of his town and begins directing reenactments of his own life theatrically.


The plot truly goes in so many different directions, but a film like this should not be studied for it's plot. It is structured in such a way that it would be impossible to make sense of time, place and even reality. Scenes come at us seemingly haphazardly, but they are linked with common traits of theme and substance. This isn't the type of film where we are to examine and think, "Was it all in his head?" or "Is this some sort of day dream?", but the questions we should be putting forth are, "Why is this important?" I won't pretend to have Synecdoche figured out, and that's the point. This isn't a film to be totally figured out. Can it be mastered? Yes and no. Yes in the sense that one can grasp all of it's themes, and get a feel and understanding of every character's purpose, but no this film is of the caliber that it cannot be subjected to a theoretical plot analysis of any type.

Kaufman seems to be exercising his own demon's here, and this is something that also makes this film so mesmerizing. While Caden is searching for truth through his epic directorial effort, could Kaufman be expounding that very same sentiment?

It's as if Kaufman is given a sheet of paper, he proceeds to shred that paper into many different pieces and throws them into the air. Some land near each other, some further away, some are blown out of viewing distance, but they are all still connected. They are all pieces that fit together, and Kaufman follows each one of them to their end. This is truth. This is art.

Caden's existential dilemma is played out through various scenes and reenactments, but we are never given a monologue to explain where Caden truly is at this point in his life. This film is not of our world.
Synecdoche, New York is a film of grand ambition, reminiscent of Kubrick's 2001: A Space Odyssey, not in it's overall themes or basic plot, but in the kind of questions it is asking, and the way in which we are presented with these questions. This isn't a film of answers, it's more philosophical than that(just like 2001). The viewer is given questions to ponder and relate back to the film. We are given no moral to hold fast to and teach our children, we are simply shown truth for what it is, life for all it carries. This film's messy structure is, in itself, a reenactment of the way in which our mind recalls life. Life is messy, the scenes of our life don't flow perfectly together like a storybook. Often times we aren't met with a connecting scene in our life for months, or years, to the scene or moment we have just encountered. This is where Kaufman examines the human condition to utter perfection. We are all messy, we are all lonely, we are all imperfect.

I will always champion films that encourage me, not only to live a better life, but to live the life more abundant. To get out there and do something, get excited about something and act on it. This is such a film.

"Suck It, Reindeer Games!"

Role Models-David Wain-2008

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Two comedic character actors finally get a shot at sharing a starring role in a recent widely released film. Paul Rudd and Sean William Scott are funny guys, but rarely do we see them get their due. Sean William Scott had the unfortunate job of becoming a character that would embody his entire career, Stifler. And if that isn't enough he hasn't outgrown him. While lately, he seems to be trying with films like The Promotion and Mr. Woodcock, did anyone actually see those? Not only did no one get around to watching them, I doubt there will ever be a time when someone looks at them(Mr. Woodcock especially) and thinks to themselves, I should really watch this, nay, I NEED to see this.

David Wain has redeemed Scott and finally given Rudd the screen time he has earned. Wheeler(Scott) is Stifler, only a bit more mature. We actually feel for this character, and he too actually feels for other characters. What has been done here with brilliance is something that Apatow has really grabbed a hold of recently. Think of a plot you have seen a million times, fill the roles with hilarious but not quite A-list actors, add a touch of sugar and place on simmer for 90 minutes.

This isn't a perfect film by any means, and it also isn't going to really blow anyone away. What this film will do is provide anyone watching it with an enjoyable time, well written characters and absurd comedy.

David Wain is most known for his work with The State and Stella, but has recently directed 2 films prior to this(Wet Hot American Summer and The Ten) and while all of his other work takes comedy to such an absurd level that it's hard to get just anyone to sit down and watch it, this film reigns that absurdism in a bit, puts a bow on it and gives it to it's viewer as a gift. This might be a good thing, may be bad, depending on the viewer.

Another wonderful thing about this film is the fact that no one plays second fiddle. Everyone is hilarious. Jane Lynch is hysterical(watch out for the hot dog trick, Ken Marino and her have a little more fun a bit into the credits) Ken Jeong proves that he is the funniest man alive and of course Chistopher Mintz-Plasse and Bobb'e J Thompson(Augie and Ronnie respectively) are perfect fits for their roles. Anyone who thought Mintz-Plasse was only McLovin needs to look out, this kids going places.

Throughout all these outstanding comedic performances we get a bit of a romance between Rudd and Elizabeth Banks. While this romance is what basically drives everything that follows in the story, it is unnecessary and cliche'. The film could easily work with a few tweaks and drops this whole storyline, but with it in there, we aren't really hurt either.

What basically works out the best is that nothing is wasted here. Every throw away line used by a character is brought back into context within the film. You haven't seen KISS like this before.

While I will commend Wain more for his work with Stella, I really think he hit all the right notes with Role Models and hope all these actors aren't strangers over there in Hollywood. I am looking forward to seeing them all again.

"That's why they call them crushes. If they were easy, they'd call them something else"

So since I was so incredibly late on the whole Alphabet Meme thing, I decided I would start my own meme and see if anyone actually follows it up.

So here's my idea.

Top 10 man crushes in film.

Rules:

This can be a character, actor, director, really anyone working on films. The only thing is, they must be a personality. You have to really know something about them. This rules out most producers, cinematographers, etc.

If you are a man, these man crushes, obviously must be men. If you are a woman than I say they have to be a woman. They must be the same sex as the writer making their list.

You can choose anyone living or dead. They must be chosen due to their film content. If you choose Michael J. Fox and the only thing you like about him is his role in Family Ties then he doesn't work. But if you choose Michael J. Fox because you love Marty McFly, and you want to mention that you also love Family Ties, that is acceptable.

Alright? Here goes.

10. Peter Sellers
-Sellers is a comedic god. Something I look for in a man(crush) is the ability to consistently make me smile. The thing is, Sellers is not only capable of causing me to go into uncontrollable fits of giggles, but he can make me cry too. His character in Being There is absolutely transformative to his entire career and my view on him.
9. Clive Owen
-Witty yet totally bad ass. He is what every man wants to be. And he's got a friggin British accent. That boosts any man to crush status for me.
8. Paul Rudd
-I could watch this man endlessly. Every supporting role he has been in leave me in stitches, and his most recent starring role shows him doing what he does best, being a snarky, smarmy, cynical asshole. At his heart though, Rudd is a sympathetic person. Why is he not noted yet for his comedic genius?
7. Kurt Russell
-Honestly, among all the 80's/early 90's action stars I would choose Mr. Russell. He is smarter than Schwarzenegger and Stallone, better looking than Bruce Willis, and wittier than all three. His anti-hero action status led the way for Willis and Die Hard. But how could anyone top his run with Carpenter in the 80's?
6. Heath Ledger
-Many love him post-humously because of his amazing portrayal of Joker. My love for him came before that. His greatest role was of course in Brokeback Mountain, but I found him amazing to watch in popcorn films such as 10 Things I Hate About You and Lords Of Dogtown. While I can't speak to the quality of these films I can speak to the charm and heart I found in Ledger and his characters.
5. John Cusack
-Say Anything anyone? Not to mention his slew of goofy 80's films (One Crazy Summer, Better Off Dead, The Sure Thing) to his newer dramedies(High Fidelity, Being John Malkovich, The Ice Harvest). He always has an earnestness about him, and while he is seemingly always playing himself, I could watch Cusack do Cusack for days on end.
4. Steve Martin
-Although lately Steve Martin has made me want to gag with his slew of horrible films, I still love the man and forgive him due to his amazing ability to always seem candid and honest, and playing many snarky characters with vulnerability. I love him most in Planes, Trains and Automobiles but how could anyone deny his outstanding stand up and early films especially a little unknown comedy directed by Carl Reiner, I'm sure some of you might have heard of it.
3. Robert Downey Jr.
-Talk about having it all. Style, looks, wit, charm, a former drug problem. Okay, that last part isn't something I look for in a man(crush) but really, can anyone deny this man anything? He made Iron Man a hit recently and I'm dying to see him again. Not to mention he is hilarious in Kiss Kiss Bang Bang, and perfect in Zodiac. He is the GQ man that all of us, whether we admit it or not, want to be.
2.Dustin Hoffman
-He may be 71 years old now, but he still warms my heart. From The Graduate to Midnight Cowboy to All The President's Men to Rain Man to Stranger Than Fiction this man knows how to act, and he knows how to pick a role. I would say out of anyone on this list he has the largest amount of great films amidst his performances. Not to mention, The Graduate makes me happy.
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Drum Roll Please.

1. Bill Murray
-The way Bill Murray has reinvented himself with Wes Anderson and Jim Jarmusch is incredible. The man is still hilarious but has a melancholy and dryness about him now that I find absolutely engaging. I love Bill Murray and if gay marriage were allowed in Ohio and he lived here, I would ask him for his hand. I don't care that he has at least 30 years on me.

Runners-up:
Michael Cera, Cary Grant, Humphrey Bogart, Jimmy Stewart, Jason Batemen, Casey Affleck, George Clooney, Sam Rockwell, Harrison Ford

I know I have many more classic actors in the runners up, this is only because I have connected and man crushed on more modern actors, I guess.

Anyways I am tagging Marcy at Because I Saw The Film, Fletch at Blog Cabins, TS at Screen Savour, The Film Doctor, and Dark City Dame. Do it if you'd like. If not, whatev.

I think I'm the last.....

....to post an Alphabet meme.

Anyway's I was tagged by Dark City Dame to do this and have slacked. I think there are a million other's out there, all probably better than mine. I won't even attempt to explain except to say:

I like way more films than this and this is really no representation of my favorite films.

As usual it's hard to find films for some letters and there may be better for each letter but this is the ones that struck me upon thinking of the letter. I am coming at this rather simplistically and going off the cuff. I think of the letter, think of a film with that letter that I adore and BAM! That's my only criteria.

So here goes.

Annie Hall
Being There
Chasing Amy

Do The Right Thing

ET(Although 8 1/2 really wanted it)
Fight Club
Graduate, The
High Fidelity
It's A Wonderful Life
Juno
Kill Bill Vol. 1
Last Temptation of Christ, The
Magnolia
Network
One Flew Over The Cuckoo's Nest
Psycho(Pulp Fiction is so very close)
Quiet American, The (A film based on a Graham Greene book that is alright, but the only Q film I have seen and at least somewhat enjoyed.)
Raging Bull(Holy crap! Rushmore, The Royal Tennenbaums, Raising Arizona, Rear Window, Red Planet, Requiem For A Dream, Raiders Of The Lost Ark, Ratatouille, Resevoir Dogs, Robocop, Rocky)
Seventh Seal, The (Another amazing letter...Saving Private Ryan, Schindlers List, The Searchers, Sense and Sensibility, Seven, Sex Lies and Videotape, Shawshank Redemption, The Sixth Sense, Sideways, Silence Of The Lambs, Some Like It Hot, Slacker, Solaris(both versions) , Stranger Than Fiction, South Park: Bigger, Longer, and Uncut, Synecdoche New York, Swingers)
Taxi Driver
Unforgiven
Vertigo
When Harry Met Sally
X-Men
Young Frankenstein
Zodiac

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So there it is. Don't act like you're not impressed.

In the coming days expect reviews of the new Charlie Kaufman film, Synecdoche, New York, as well as David Wain's third directorial effort, Role Models.

"Princess Leia ain't never had no sex with Han Solo in the Star Wars."

Zach and Miri Make a Porno-Kevin Smith-2008

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Zach and Miri Make a Porno. What the hell else do you need to know?

To be honest, while that is the basis of the film, I believe it was the words of the film criticism god Ebert that can sum it up, "A film isn't about what it's about." If there were ever a film that earned that statement, well better examples can be found, but you get my point.

Zach and Miri are two late 20's losers barely able to pay rent. They are best friends who have known each other since the first grade, and inconsequentially have not once felt feelings for one another. When their electric and water gets turned off and they have nowhere else to turn, they decide to make a porno for some quick cash.

And with that plot line, described in the film's title, we are off and running.

Director Kevin Smith isn't really mining new ground here with his usual raunchy, but sweet humor. And to Smith's credit his filmmaking abilities are obviously improving. The camera moves, the city looks beautiful, he plays with color palettes yet still allows it to be all character and story.

The movie opens perfectly setting the characters up by showing rather than saying, which is occasionally a fault of Smith's very wordy scripts. The first act flies by and it is perfect. Each note is hit with utter grace and everyone shines. Justin Long steals the show though as a gay porn star. He plays it against the usual stereotype of homosexuals, but at the same time, is playing up those same stereotypes.

After the first act though, the comedy gets a little hit and miss. This is especially true for a certain sight gag that really doesn't fit in here, even amidst all the raunch.

When they begin making the porno is where I believe Kevin Smith has achieved a new level of maturity with his writing. This is not to say that the jokes are mature, but what he sets up is at once ingenious and completely fitting for the film.

It reaches a level of meta-ness. We are watching this film within a film unfold and when something happens and breaks that apart, our film reaches that same level of climax. It's hard to comment on without totally giving away but if you aren't paying attention then it comes across as cheesy but when you get the irony it plays out perfectly. Especially when Jason Mewes(Jay in the other of the View Askew films) gets to lay out the films themes with subtlety by explaining the dutch rutter to Zach.

Those that are saying Smith is trying to grab hold of Apatow's thunder may be somewhat right, but in retrospect he actually chose Rogen as Zach before Knocked Up even hit theatres. So at that point Rogen was still virtually unknown. Everyone seems to forget that it is Apatow that has taken the formula of Smith, yet made it a little more accessible and mainstream. If asked to say which one was the better filmmaker, all that anyone would need to do is look at the frames of the films. While Smith isn't some supreme visual artist his films have a look all their own, while Apatow's films, in regards to looks, could be directed by most anyone.

In the end with all of it's shortcomings I think in terms of filmmaking, Zach and Miri is a huge step up for Smith. But with all the praise I have given I was slightly disappointed. I have found much beauty and worth in many of Smith's efforts(Chasing Amy especially) and was hoping to find that same level. Not in the sheer look or feel of the film, but in terms of the screenplay I don't feel like Smith focused enough on these characters when we reached the film within a film section. He focused not only on the meta-narrative I already discussed, but also on poop jokes and sex jokes in terms that could be distracting. Although I particularly thought that Jason Mewes and Katie Morgan's sex scene was hilariously staged and executed.

Smith makes personal films, and that resonates with a lot of people. Those who don't like him have their reasons, and those reasons are perfectly understandable, but when you do relate to his canon on a transcendent level they become more than the sum of their parts.

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In news sort of related to this review; after seeing Zach and Miri Make a Porno I have decided that for my next director study I am going to look at the 7 films Kevin Smith made before Zach and Miri. I know that in terms of credibility this may not make me look like the most knowledgeable film blogger out there, but I have a real affection for the man and many of his films. This is not to say that I believe he is the best filmmaker out there of course, but I have found surprising amounts of depth and beauty in the world Smith creates and have always wanted to delve a little deeper into that. So starting in a few weeks Kevin Smith will get the Deadpan run down.