PopSugar

Top 10 Twitter Feeds to Follow

Monique Marie — Wed, 09 Dec 2009 11:39:21 -0800

10: Adam Savage

Ray Tamarra/Getty ImagesAdam Savage is but one half of the popular "Mythbusters" team.
You know him as one half of the "Mythbusters" -- Discovery Channel's wildly successful show that's part science, part fun. Aside from being a pretty smart person, Savage (@donttrythis) also has a pretty interesting life, one actually worth following on Twitter. Fans can get an inside peek into the world of a real mythbuster -- "Just finished watching "Stand By Me" with my boys. They LOVED it (of course). AND I finished all my homework for our RSA appearance soon." Part of the appeal of Savage is that he doesn't seem to have bought into his own celebrity and he's extremely fan friendly. His tweet regarding a recent walk down the red carpet -- "This is far out. There are tons of ACTUAL famous people here" -- is the kind of humble self deprecation that has earned Savage nearly 30,000 followers as of April 2009 [source: Twitter].

9: Neil Gaiman

Darryl James/Getty ImagesNeil Gaiman is a popular science fiction and fantasy author.
British author Neil Gaiman (@neilhimself) is famous for his science fiction novels, film screenplays and graphic novels. The film version of his fantasy novel "Stardust" grossed more than $135 million worldwide [source: Box Office Mojo]. Gaiman has a blog on his Web site that has become pretty popular due to his interaction with fans. The same fan connection has happened with his Twitter account as well. Gaiman tweets about his life as a world traveling writer, keeping fans in the know about book signings and appearances as well as alerting folks when he's finished a longer blog post on his Web site. Part of the charm of Gaiman's tweets is that he's a respected author, so you won't find any silly Internet abbreviations. If you're expecting "just ate rotten mffn for b-fast - LOLZ!" then you'll be disappointed. If you appreciate sly British humor, Gaiman is your man:
"It is beautiful. As if every photo should be captioned 'by nightfall their peaceful town would be the scene of unimaginable horror'."

8: CNN

Rick Diamond/Getty ImagesThis is CNN...and a dog.
Not all the Twitter feeds worth following are actual people. CNN (@cnnbrk) has been a respected news media outlet since it was founded in 1980 by media mogul Ted Turner. It has since been absorbed by Time Warner Cable, but it still retains its place as leader in providing accurate and up-to-the-minute news from every corner of the globe. To keep up with news in real time, you can follow the CNN feed or the CNN Breaking News version on Twitter. Both feeds are sanctioned by CNN, and you can find news as it happens on both. CNN made headlines in April 2009, when actor and Twitterholic Ashton Kutcher challenged CNN to a race for one million followers and won. It was all in good fun though, with Kutcher donating $100,000 to a charity that helps fight malaria after his victory.

7: New York Times

Mario Tama/Getty ImagesThe New York Times building in New York City
The New York Times (@nytimes) was founded in 1851 and quickly became the most successful newspaper in the United States. To this day it's the go-to news publication in the United States, where you always get "All the News That's Fit to Print." With print media outlets falling on hard times during the economic hardships of 2008 and 2009, "The Times" has embraced Twitter as a way to stay relevant and connected in an increasingly paperless world. The Times has no less than 50 different Twitter feeds for newshounds to follow. You can keep up with personal tweets from editors, writers and reporters as well as a host of news feeds. Each section of the paper has its own Twitter account as well, so if you love The Times sports coverage, but don't enjoy the style section so much, you can choose only to follow what you're interested in. Most of The Times' section tweets are blurbs with links to further coverage on its Web site, while the reporter and writer tweets include personal points of view on the news they cover.

6: NASA Robots

Pool/Getty ImagesThe robot team celebrates in the mission control room the successful Phoenix Mars Lander spacecraft's scheduled landing on the Martian Arctic.
Yes, you read that one right. In a stroke of marketing genius, NASA, beginning with the Mars Phoenix Lander (@marsphoenix), began to "ghost tweet" as if various mission robots were speaking with their followers. Not only was it a clever way to keep people interested and informed about NASA and space exploration, but it created some unusual and unexpected results. Followers became attached to the Mars Phoenix Lander and humanized it, perhaps partially due to the smash hit film "Wall-E," the Pixar computer animated film about a very emotional robot. The sad news is that the Mars Phoenix Lander's job required it to stay on the red planet forever. The 38,000-plus followers of Mars Phoenix were saddened, though the ghost tweeters tried their best to keep spirits up:
"I should stay well-preserved in this cold. I'll be humankind's monument here for centuries, eons, until future explorers come for me."
And the final message from Mars Phoenix was simply a structured series of ones and zeroes -- the binary code was translated as "triumph."

5: Martha Stewart

Michael Loccisano/Getty ImagesMartha Stewart flashes her trademark cute smile.
Who doesn't need a little more Martha Stewart (@marthastewart) in their lives? The business giant, TV show host, magazine publisher, author and ex-con is one of the most popular women in the world. Her followers, and not just on Twitter, are a force to be reckoned with -- if Martha endorses it, they try it out. If she says to paint it, they paint it. If she says break out the pinking shears, then something is going to get cut (in a zigzag). Followers of her Twitter feed get posts on what she's up too with her various endeavors, updates on appearances she'll be making and simple advice and recommendations on everything from a nice summer wine to what to serve at the perfect dinner party. And as you might expect, it's also delightfully free of grade-school Internet abbreviations.

4: Oprah Winfrey

Katy Winn/Getty ImagesOprah gives a big thumbs up to Twitter.
Just like Martha Stewart, and perhaps even more so, media mogul Oprah Winfrey (@oprah) has a legion of fans who hang on her every word. She's created a true empire and the fate of everything from an author's career to a product's success can hang in the balance depending on her recommendation. When Oprah tweets, her nearly 750,000 (as of April 2009) followers listen. Considering the fact that Oprah just started tweeting in mid-April 2009, the sheer number of followers she has is astounding. So far, her tweets have been a mix of updates on upcoming show guests and some fun personal information, like what music she's listening to and what her dinner plans are. She also gives a little behind-the-scenes look at her show, tweeting about how she pulled an episode on the Columbine High School shooting anniversary because it "focused too much on killers." Go, Oprah, go.

3: Shaquille O'Neal

Jed Jacobsohn/Getty ImagesShaq may not be able to shoot a free throw, but he can twitter with the best.
NBA basketball star Shaquille O'Neal (@THE_REAL_SHAQ) is one of the most popular players in league history because of his sense of humor and gentle giant persona, so it's no surprise that his Twitter feed is also a big hit. As of April 2009, his Shaqness had acquired nearly 900,000 followers and is sure to hit the one million mark. Like with most celebrities, Shaq tweets about his day-to-day life, but through the lens of his funny personality. He also made headlines in March 2009 by twittering during halftime of a game. All he said in the message was a cryptic "Shhhhh," but it was enough to make the news. In addition to his funny posts about what he ate for breakfast and his desire to lose enough weight to have "eight pack abs" Shaq also uses Twitter to give tickets away to fans, proving that his heart is as big as his shoe size -- an astounding 23.

2: Barack Obama

Chip Somodevilla/Getty ImagesYes we can Ttwitter!
Yes, the President of the United States (@BarackObama) is on Twitter. President Obama twittered himself in the weeks leading up to the election, giving updates on appearances he'd be making and covering talking points of his political rallies. Since he's taken office, he's been a little busier trying to help correct an ailing U.S. economy, but the tweets live on through his staff. But he did make history on March 26, 2009, when he became the first acting American President to send a tweet. He sent a message about the struggling economy and included a video link to the White House Web site. The video was of the President himself, urging Americans to send their questions about the economic struggles for a press conference he held the following day. His staff now sends out tweets updating his million-plus followers about his upcoming speeches as well as calls for Americans to volunteer with various organizations.

1: Wil Wheaton

Albert L. Ortega/Getty ImagesWil Wheaton never had any friends later on like the ones he had when he was 12 -- does anybody?
Actor Wil Wheaton (@wilw) is probably best known for his role on "Star Trek: The Next Generation" and when he played a young boy searching with his friends for a dead body in the 1986 film "Stand By Me." But anyone in-the-know is keen to the fact that Wheaton is a virtual God in the land of technophiles and all things geek related. Wheaton has this reputation because he's become what's known in the tech realm as an "early adopter." This means that he's first on the bandwagon when it comes to tech products, gaming and geek trends. His blog has been wildly popular for years and once he started twittering, it didn't take fans long to catch on. Aside from the usual day-to-day stuff that Twitter is known for, Wheaton recommends video games, tech products, movies, podcasts and just about anything else Web related.

The Little Black Dress

frugalfashion22 — Fri, 27 Nov 2009 09:37:57 -0800

The little black dress worn by Audrey Hepburn in Breakfast at Tiffany’s became the most famous in fashion history. When in doubt, the LBD is always the perfect choice and will never go out of style. Below are some of my favorites all under $150.

Edressme.com is always a great site to find an array of dresses. The “Black Polk-a-dot Bubble Dress” by Kitty is the perfect mini cocktail dress. The high neckline and ruffle accent at the collar are different from the ordinary LBD. It also features a bubble hem and velvet burnout polka dot pattern. Available at edressme.com for $83:

The “Glittering Little Black Cocktail Dress” has a scoop neckline and sheer bodice. It’s cinched with a fitted sash and the skirt is shimmery and full of glamour. Also at edressme.com by Kitty for $84:

Victoria’s Secret is known for their sexy dresses and this one is no exception. The “Ruched Convertible Dress” is genius. There are about ten different ways to wear it including the strapless version and halter style both shown below. It’s like having a closet full of LBDs in one! Find it at victoriassecret.com for $79:

Banana Republic always offers some of the best holiday dresses each year. They’re always classy with a fun twist. The “Tiered Pleat Dress” is full of layer and layers of gorgeous pleats. Available at bananarepublic.com for $132.

The “Open-Back Peplum Dress” by Aqua is a very modern and chic take on the little black dress. With a daring open back and attached mini skirt, all eyes will be on you when you make your exit. At Bloomingdales for $66:

Tabatha's Salon Takeover Is Back!

BellaSugar — Thu, 10 Sep 2009 08:00:00 -0700

Looking for a dramatic, conflict-ridden show to add to your must-watch TV lineup? Might I recommend Tabatha's Salon Takeover? The reality program, which made its debut on Bravo last year, is set to make its second season premiere on Nov. 3. In case you're not familiar with the premise, Tabatha Coffey, a fan favorite on Bravo's other salon reality program, Sheer Genius, heads into ailing salons with the main goal of transforming them into successful businesses. Of course, there are lots of f-bombs and tears along the way, and it looks like this season, which centers around salons located in LA, Chicago, and Miami, will deliver the same level of no-nonsense action. Will you tune in to see Coffey cracking her whip?

Luxe vs. Less Nail Polish

tdsollog — Wed, 19 Mar 2008 17:56:23 -0700

A good one from totalbeauty.com:

Luxe vs. Less Nail Polish

Red
Nars Nail Polish in Dovima, $16, brightens nails with the punchy color of market-fresh cherry tomatoes -- perfect for hot summer days. But Bobbi Brown Nail in Tomato Opaque, $8.50, gets the job done just as well for half the price. (The catch: Bobbi Brown polishes are also half the size of Nars bottles.)

Sparkling Pink
The only visible difference between Lippmann Collection Color Nail Lacquer in Don't Call Me Baby, $15, and Creative Nail Design Nail Lacquer in Translucent Tangerine, $6, is that the former contains a yellow-gold sparkle and the latter contains a white-gold sparkle. (CND's take, available in April, is also a tad glossier.) But as far as sheer, bright color goes, the two look identical.

Bare
We think putting nail polish in a pump-able pen is genius. But the gorgeous YSL Nail Touch Nail Lacquer Brush Pen No. 2 (available in May) costs a whopping $25. If you can sacrifice the luxurious gold packaging, Sally Hansen Color Quick Fast Dry Nail Color Pen comes in the same shade, Sheer Beige, and works the same way for only $7.99.

Copper
Estee Lauder Pure Color Nail Lacquer in Bronze Goddess (left) will give your nails the glowing tan of a Brazilian beach goddess -- for $18. But L'Oreal Paris Nail Polish in Goldy Lucks can do it for less (only $4.59). Take your pick!

Rose
You really can't go wrong with a romantic rose polish. The classic Lancome Le Vernis in Beige Elegance (left), $18, looks a hint more brown than Zoya Professional Lacquer in Penelope, $6, but the miniscule difference is well worth a savings of $12.

24 Karat Gold
We thought we'd never find a match to Shu Uemura Nail Enamel Supplement Mineral in Gold Zest, $16, a beautiful, shimmering light gold. But OPI's India Collection came through. Curry Up Don't Be Late!, $8.50, is a near-exact copy, sans seaweed extracts and the "tri-color confetti pearls" that give Shu Uemura's gold a subtle kaleidoscope effect. (Both polishes are formaldehyde- and toluene-free.)

Plum Shimmer
From time to time, brands launch limited edition colors like MAC Nail Lacquer in Boom!, $10, which sell out almost immediately. No need to panic in this case. Sephora Brand Nail Polish 52 (right), $4, comes in a smaller bottle but looks almost exactly the same after two coats. (Shhh.)

Blues
Despite treks to stores throughout the city, we couldn't find an inexpensive, exact color copy of Chanel Le Vernis Nail Colour in Blue Satin, $19. OPI Nail Lacquer in Russian Navy, $8.50, was the closest match that was still available on shelves, but it wasn't quite blue-black enough. All hope is not lost, though; Dior Vernis in Poison Blue, $19, is a near perfect match, lacking only Blue Satin's virtually nonexistent shimmer. The catch: It's a limited-edition color, equal in price to the lovely Chanel shade. (Alas, some things never change.)

The Epiphany of a MEAT CAKE.

c0rkie — Wed, 08 Aug 2007 00:30:43 -0700

The chef behind this is a GENIUS!

This is supposedly delicious lol.
I haven't personally tried to make a meat cake yet so I wouldn't know.

I just had to share this on Teamsugar in case you haven't seen this yet.

There's even a gallery of other meatcake fanatics! Talk about having a FEAST!

the following is taken from:
http://www.blackwidowbakery.com/demo/meatcake/

This, my friends,
is my culinary epiphany.

Feast your eyes on this!

A cake...with a t-bone drawn on
it? Has our intrepid chefstress lost her mind? NO, my friends, NO!
because THIS....is MEAT CAKE.

Okay, see, this bears some
explanation. A coworker is getting married next week, and we were
talking about wedding cakes (I had just done one for two friends of
mine). He asked if I could do one for him - totally joking of
course. "Oh, sure, what kind of chef are you that you can't pump out
a wedding cake on just two weeks notice??" He went on to describe
his ultimate wedding cake. "I hate that wedding cakes are all girly.
There should be like a groom cake to go with the traditional wedding
cake. A guy's cake. Like..made out of meat."

A lightbulb went off in my
mind. "I could TOTALLY do that," I exclaimed. "A meatloaf! With
mashed potato frosting! OH MY GOD!"

"Yeah!" He was catching on.
"And like, gravy between the layers and melted cheese for the
writing!"

"Hmmmm. No, ketchup glaze," I
decided. "I am so totally going to do this," I suddenly realized.

So today I did. Here's how it
went down:

The first thing I needed was the meatloaf. I make a pretty yummy meatloaf, but I never make it the same way twice. I knew I needed a dryer meatloaf, so I would need a lot of breadcrumbs. Into a bowl, I mixed:

6 # hamburger, 80% lean
3 large AA eggs
2 TB minced garlic

1 TB minced dried onion
1 TB basil
2c bread crumbs
2 TB kosher salt

I knew there was going to be a
lot of fat left in the pans, and I am lazy, so I used disposable
cake tins. Three 8 inch rounds. There wouldn't be as much fat if I'd
used leaner meat, but the grocery store didn't have any leaner meat
in chubs, and I didn't want to spend a million dollars on this
anyway. Next time I'll cut the beef with something a little leaner,
or maybe bigger chunks of bread. I wasn't too concerned about it,
since this was only the trial run to see if this idea is even
worthy. I evenly distributed the meat into the cake tins.

And then into the 400 degree
oven until they reached an internal temperature of 170 degrees,
which was about 45 minutes. I glazed two of them after about 20
minutes, but this was an act of sheer optimism, as there was a
better than average chance I was going to have to cut the tops off
anyway, to level them.

It wouldn't do at ALL to have
them bathing in yukky grease once they were out, so I pulled them
out of the tins right away and let them cool on draining racks. Yep,
glazing was too optimistic. The meatloaf bound up a little tighter
than I would have liked - I think next time I would go with three
cups of bread crumbs instead of two. I watched an episode of Good
Eats while I waited for them to cool, and thanks to Alton, I really
wanted wontons.

Like any cake, it needed to be
leveled. I wasn't too worried about accuracy here, but I carved off
a nice level slice from each layer. They steamed up when I leveled
them, so I ate a quick lunch of meatloaf scraps while they cooled
down some more. Needed a little salt, but my meatloaf is still very
tasty. This time Alton taught me about vinegar.

I stacked the layers and cut
off the edges, to get some semblance of roundness. More scraps for
dinner, I foresee. Again, I'm not really worried about making it
perfect, because I can buy a lot of forgiveness with icing. I mean
potatoes. (pardon me, I've got to go check on my green tea melon
sorbet)

(back. It's not ready yet, but
my raspberry ginger sorbet is hardened and it is delicious and I'm
eating some.) So many scraps for dinner! mmmmm.

I am going to stack them on my
prettiest paper round. Hee hee hee.

I whipped up a little more
glaze to put between the layers. For glaze, I use Worcestershire
sauce (pronounce the city 'worcestershire' "wuss-tuh-shuh" (with
hard, english vowel sounds). 'worcester' is "wuss-tuh". the stress
goes on the first syllable in both. Don't be wrong. You don't
pronounce the 'ce', like you don't call Gloucester 'glao-che-ster'
ACK BRAIN FREEZE DAMN YOU, GINGER SORBET! ok. Sorry.
'gloucester' and 'gloucestershire' are pronounced "gloss-tuh" and
"gloss-tuh-shuh" respectively. or wuss-stur-sher, but the sauce is
pronounced "wuhsher". Yeah. I've had a LOT of emails about
this. It's very strange. A lot of them contradict each
other. say it right. the end.), brown sugar, and ketchup. This
is the only time I ever eat ketchup on purpose, because ketchup is
vinegary, salty tomato blood and it is gross. True culinary fact. I
use 1 tsp of wooshereshtir sauce, 1/4 c of brown sugar, and 1 c of
ketchup, roughly. It's like my meatloaf. I don't usually make it the
same way twice. I generally brush it on while it bakes, so the sugar
caramelizes to deliciousness, but I am just using the raw deal here.

And now I spread it between the
layers. The weight of the next layer is going to push on it, so I
don't spread the glaze all the way to the edges. I'm being extra
careful here, since I don't want the ketchup bleeding into the
mashed potatoes when I spread them on. When I fill a cake with the
same frosting that's going on the outside, I'm not so careful about
it, but in cases like this, I don't want to contaminate the outer
appearance at all.

And now the frosting! Yeah, I'm
cheating and using potato flakes - but for a specific reason. I like
my real mashed potatoes with the skin in and lumpy as hell, so you
can tell that it used to be a potato, but consistency is key here.
I'm using potato flakes for smoothness and uniformity that I can't
really get with real potatoes without killing my whip attachment.
Yes, I *have* heard of a potato ricer, but I don't have one. And the
ingredients for this alone cost me $40, so I wasn't about to invest
some money on a ricer that I'm only going to use for this. And this
is just a test cake anyway. Nyah. Yes. I'm cheating. And lazy. MMmmm
potato flakes.

Is it buttercream? Is it mashed
potatoes? hm. Hard to tell! And THAT, my friends, is the whole very
point.

And now for the crumb coat! A
very thin layer of potatoes is applied to give the cake shape, and
to seal in the meaty crumbs and glaze that escaped. If this were a
cake, I'd have frozen it for a little while before doing the actual
frosting..

..But it's not a real cake!
HA-HA! So I'm plowing ahead and smothering it with potatoey
goodness. It's at about this stage I started giggling at how well my
plan was working. Holy hell, this looked like a cake. A real, proper
cake! I am a GENIUS!

And now for the delicate
touches. A spirally border with accents of glaze and a T-bone on
top. I've never drawn a T-bone steak before. It didn't come out too
bad, though there is a definite uterusy quality to it. And the
brilliant part of this, is that mashed potatoes can be colored
(anyone who's ever seen the movie Hook will testify). So I
could have decorated this just like any other cake in the world. But
the whole point of it is to be a Manly Man Cake, and hence the
steak. Next time, I'll decorate it like a proper cake. You can pipe
the mashed potatoes as easily as frosting. I also considered cutting
some crispy bacon to be 'candles'.

It tastes delicious. I chilled
it, sliced it, then served it warmed up from the microwave. Cold
meatloaf only belongs in sandwiches, not meat cake. It came out as
well as I hoped, and it's received far more attention than I ever
thought it would. Holy cats, a lot of you have seen this! I've
received a ton of email about it, and so far the worst people have
had to say was 'ewww meatloaf'. I shrug at thee! Meatloaf - when
done properly - is delicious! Unless you are not a meatatarian, in
which case it maybe tastes like murder, but for us hardcore
meatatarians, murder tastes like meat! And meat is delicious!

And now I'm going to go watch
what Alton has to say about spices, while you look at my meatcake
some more. Bon apetit!

http://www.blackwidowbakery.com/demo/meatcake/

They Shoot Pictures, Don't They? - The 1,000 Greatest Films The Top 100 = 1 - 25

scotlandrulz — Tue, 27 May 2008 12:29:42 -0700

1 - 25

1 2 3
Citizen Kane
ORSON WELLES (1)

1941 | 119m | BW | USA | Drama, Period Film
"Far and away the most surprising and cinematically exciting motion picture to have been seen here in many a moon. As a matter of fact, it comes close to being the most sensational film ever made in Hollywood." - Bosley Crowther
Selected by Ken Russell, Ridley Scott, Paul Schrader, Martin Scorsese, John Walker.
Amazon Bright Lights Film Journal Roger Ebert's Great Movies
Vertigo
ALFRED HITCHCOCK (3)

1958 | 128m | Col | USA | Romantic Mystery, Psychological Thriller
"Of all Hitchcock's films the one nearest to perfection. Indeed, its profundity is inseparable from the perfection of form: it is a perfect organism, each character, each sequence, each image, illuminating each other." - Robin Wood, Hitchcock's Film's Revisited, 1989
Selected by Andrew Sarris, Robin Buss, Amy Taubin, Stig Bjorkman, Catherine Breillat.
Amazon Images Journal Bright Lights Film Journal
The Rules of the Game
JEAN RENOIR (2)

1939 | 113m | BW | France | Comedy Drama, Comedy of Manners
"How brilliantly Renoir focuses the confusion! The rather fusty luxury of the chateau, the constant mindless slaughter of wild animals, the minuets of adultery and seduction, the gavottes of mutual hatred or mistrust..." - Basil Wright, 1972
Selected by Carrie Rickey, Carlos Diegues, David Robinson, Yvonne Rainer, Thomas Elsaesser.
Amazon The Criterion Collection The A.V. Club

4 5 6
2001: A Space Odyssey
STANLEY KUBRICK (4)

1968 | 139m | Col | UK | Science Fiction, Psychological Sci-Fi
"A parable of a future toward which metaphysical dread and mordant amusement trip side by side...I have never seen the death of the mind rendered more profoundly or poetically...." - Andrew Sarris
Selected by Bennett Miller, Tony Scott, Chris Hegedus, Michel Chion, Alex Cox.
Amazon kubrick2001.com Roger Ebert's Great Movies
8½
FEDERICO FELLINI (5)

1963 | 135m | BW | Italy | Satire, Psychological Drama
"A film only an exceptional personality like Fellini could have considered...the film fresco is majestic, fascinating and complex." - Il Messagero
Selected by David Ehrenstein, John Walker, Martin Scorsese, István Szabó, F. Gary Gray.
Amazon Strictly Film School Derek Malcolm's Century of Films
The Godfather
FRANCIS FORD COPPOLA (7)

1972 | 175m | Col | USA | Gangster Film, Crime Drama
"One of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment." - Vincent Canby, New York Times
Selected by Robin Buss, Bobby Farrelly, Ty Burr, Molly Haskell, Carl Franklin.
Amazon Roger Ebert's Great Movies metacritic

7 8 9
The Searchers
JOHN FORD (9)

1956 | 119m | Col | USA | Western, Revisionist Western
"The best western ever made...Wayne was never better than as as the tormented, potentially murderous Ethan, and John Ford stages heartbreaking moments in the action-packed plot." - Empire, 1994
Selected by Andrew Sarris, Martin Scorsese, Joe Dante, Barry Norman, Bill Rothman.
Amazon Roger Ebert's Great Movies Images Journal
The Seven Samurai
AKIRA KUROSAWA (6)

1954 | 200m | BW | Japan | Samurai Film, Drama
"It is as sheer narrative, rich in incisiveness and sharp observation, that it makes its strongest impact...It provides a fascinating display of talent, and places its director in the forefront of creative film-makers of his generation." - Gavin Lambert, Sight & Sound
Selected by Ridley Scott, John Walker, Antoine Fuqua, John Sayles, Philip Kaufman.
Amazon Bright Lights Film Journal Senses of Cinema
Tokyo Story
YASUJIRO OZU (

1953 | 134m | BW | Japan | Drama, Family Drama
"There is treasure for everyone in Tokyo Story...a film that encompasses so much of the viewer's life, that you are convinced that you have been in the presence of someone who you knew very well." - Stanley Kauffman
Selected by Paul Schrader, Robin Buss, Geoff Andrew, Karel Reisz, Aki Kaurismäki.
Amazon Derek Malcolm's Century of Films Strictly Film School

10 11 12
Sunrise
F.W. MURNAU (11)

1927 | 110m | BW | USA | Melodrama, Romantic Drama
"The best foreign film ever made in the United States...Released in the last year of silent film (1927), it remains one of the pinnacle achievements of that lost art." - Dave Kehr
Selected by Andrew Sarris, Carrie Rickey, Carlos Diegues, Gavin Smith, Vincent Ward.
Amazon Village Voice Strictly Film School
Singin' in the Rain
STANLEY DONEN & GENE KELLY (10)

1952 | 102m | Col | USA | Musical, Showbiz Comedy
"The greatest musical ever made...also one of the few musicals where the screenplay...is as entertaining as the numbers themselves." - NFT Bulletin, 1975
Selected by Nick James, Chris Hegedus, Irene Bignardi, Barry Norman, Bryan Forbes.
Amazon The Village Voice Roger Ebert's Great Movies
Battleship Potemkin
SERGEI EISENSTEIN (12)

1925 | 65m | BW | Russia | Historical Film, Political Drama
"A dynamic early motion picture masterpiece that is a thrilling experience. One of the world's great films." - Judith Christ
Selected by Robin Buss, Michael Mann, Ronald Neame, Roger Corman, Joel Schumacher.
Amazon Senses of Cinema Film as Art

13 14 15
Lawrence of Arabia
DAVID LEAN (13)

1962 | 216m | Col | UK | Epic, British Empire Film
"Here is an epic with intellect behind it, an unforgettable display of action staged with artistry. A momentous story told with moral force...A revolutionary film in possessing an epic hero whom it doesn't hero-worship." - Alexander Walker, Evening Standard
Selected by Ridley Scott, Martin Campbell, John Walker, Andrew Stanton, Roger Michell.
Amazon Screen Online Washington Post
L'Atalante
JEAN VIGO (16)

1934 | 89m | BW | France | Drama, Romance
"The singular talent - for once I think I may say genius - of the film lies in its translation into visual images of the mysterious and terrible and piteous undertones of even the simplest human life." - Dilys Powell, 1943
Selected by Geoff Andrew, Jim Jarmusch, Michel Ciment, Gilles Jacob, Aki Kaurismäki.
Amazon Slant Magazine Roger Ebert's Great Movies
Bicycle Thieves
VITTORIO DE SICA (17)

1948 | 90m | BW | Italy | Family Drama, Urban Drama
"Vittorio De Sica's neo-realist masterpiece, about an impoverished young Roman's search for his stolen bicycle...One of the movies that shatters you, if you see it at a young, idealistic age." - Michael Wilmington
Selected by Robin Buss, Albert Maysles, Philip Kaufman, Charles Burnett, Guy Hamilton.
Amazon Strictly Film School Roger Ebert's Great Movies

16 17 18
The Passion of Joan of Arc
CARL DREYER (14)

1928 | 77m | BW | France | Historical Film, Biography
"One of the greatest of all movies...Falconetti's Joan may be the finest performance ever recorded on film." - Pauline Kael
Selected by Bruce Beresford, Michael Mann, Jean-Michel Frodon, Gavin Smith, Donald Richie.
Amazon Bright Lights Film Journal Strictly Film School
The Godfather Part II
FRANCIS FORD COPPOLA (18)

1974 | 200m | Col | USA | Gangster Film, Crime Drama
"The daring of Part II is that it enlarges the scope and deepens the meaning of the first film...It's an epic vision of the corruption of America." - Pauline Kael, New Yorker
Selected by Carrie Rickey, Alan Parker, Jonathan Glazer, Ann Hui, David Siegel.
Amazon Chicago Reader Pop Matters
Raging Bull
MARTIN SCORSESE (19)

1980 | 128m | BW | USA | Biography, Sports Drama
"Raging Bull is the most painful and heartrending portrait of jealousy in the cinema. It's the best film I've seen about the low self-esteem, sexual inadequacy and fear that lead some men to abuse women." - Roger Ebert
Selected by John Walker, Scott Hicks, Gillian Armstrong, Joe Dante, Karel Reisz.
Amazon Roger Ebert's Great Movies Derek Malcolm's Century of Films

19 20 21
Rashomon
AKIRA KUROSAWA (15)

1950 | 88m | BW | Japan | Drama, Samurai Film
"The film is much less formally daring than its literary source, but its virtues are still plentiful: Kurosawa's visual style at its most muscular, rhythmically nuanced editing, and excellent performances." - Tony Rayns, Time Out
Selected by Dennis Hopper, Carrie Rickey, Dusan Makavajev, Andrey Plakhov, Barry Norman.
Amazon The Criterion Collection Roger Ebert's Great Movies
Casablanca
MICHAEL CURTIZ (25)

1942 | 102m | BW | USA | Drama, War Romance
"The director's one enduring masterpiece is, of course, Casablanca, the happiest of happy accidents, and the most decisive exception to the auteur theory." - Andrew Sarris, The American Cinema, 1968
Selected by Michel Chion, Richard Lester, Sydney Pollack, George A. Romero, Norman Jewison.
Amazon Roger Ebert's Great Movies The A.V. Club
City Lights
CHARLES CHAPLIN (21)

1931 | 86m | BW | USA | Comedy Drama, Romance
"Every second of City Lights provides something to engage the attention. Not a gesture is superfluous, and the fountain of laughter and tears bubbles continuously." - A. Jympson Harman
Selected by Paul Schrader, Carlos Diegues, Irene Bignardi, Bernardo Bertolucci, Joe Dante.
Amazon CultureDose Roger Ebert's Great Movies

22 23 24
Touch of Evil
ORSON WELLES (22)

1958 | 108m | BW | USA | Film Noir, Psychological Thriller
"A terrifying, Goyaesque vision of corruption, and probably the most original thriller ever made." - Peter Bogdanovich, 1975
Selected by Philip Kaufman, Derek Malcolm, Bernardo Bertolucci, George A. Romero, Jonathan Romney.
Amazon Derek Malcolm's Century of Films Chicago Reader
See Also: 250 Quintessential Noir Films
The Third Man
CAROL REED (20)

1949 | 104m | BW | UK | Mystery, Psychological Thriller
"Just enough Orson Welles to please, not saturate...With the aid of exceptional camerawork and carefully paced direction, the suspense of the film is well-nigh physically overpowering." - Fortnight
Selected by John Sayles, Alan Parker, Paul Morrissey, Guy Hamilton, David Denby.
Amazon Bright Lights Film Journal Chicago Reader
See Also: 250 Quintessential Noir Films
La Dolce vita
FEDERICO FELLINI (23)

1960 | 175m | BW | Italy | Comedy Drama, Media Satire
"An awesome picture, licentious in content but moral and vastly sophisticated in its attitude and what it says." - Bosley Crowther
Selected by Neil LaBute, Paul Verhoeven, Alan Rudolph, Alexander Walker, Cameron Crowe.
Amazon Striclty Film School Boston Globe

25
Les Enfants du paradis
MARCEL CARNÉ (24)

1945 | 195m | BW | France | Period Film, Romantic Drama
"Close to perfection of its kind and I very much like its kind - the highest kind of slum-glamour romanticism about theater people and criminals, done with strong poetic feeling..." - James Agee, Nation

Harry Potter and the Prisoner of Azkaban - Spoilers for Years One, Three, Four, Five, and Six

Phasekitty — Thu, 05 Jul 2007 17:54:12 -0700

You think the dead we loved ever truly leave us?...Prongs rode again last night.

There's really not much for me to nitpick on this book, and but one major flaw with the film, but regardless, please find Year Three, book and film, below.

Those who know me well know that this is by far my favorite book of the series. It introduces not one, but three, of my favorite characters; Sirius, Lupin, and Buckbeak, with SIrius being my number one, of course. I love this book because it takes a character who is presumably a villain, Sirius, and though he is not our main enemy, Voldemort, we are still 100% terrified of him. Then, in a huge climax that lasts over a hundred pages, there is a twist in which we find out that Sirius is not a villain at all. A simple pet, who has offered no more than comic relief in the first two years, is in fact an even more murderous and deceiving villain than we assumed Sirius to be. It's sheer genius, and that would be enough, but what's more is in just a few short chapters, Sirius becomes a sympathetic character, one in which we see a deep bond form between him and Harry.

This book is a turning point for the series as many things begin to happen that will affect things to come. Harry, Ron, and Hermione become teenagers and we see the beginnings of a lot of teenage angst from Harry. We really get a sense of the wizarding world around them, from the creatures (Hippogriffs, dementors, and werewolves, oh my!) to the Ministry of Magic. We begin to see the corruption in the Ministry, when Lucius influences everyone to sentence Buckbeak to death without even a proper trial or appeal. This of course paves the way for all the ignorance that comes out of the Ministry in Year Five. Finally, we must come to terms with the fact that our heroines are just teenagers. Everything thusfar has been accepted by those around them, though it did not affect anyone outside Hogwarts, really, and therefore it was Dumbledore's opinion that mattered. However, as the three children argue for Sirius' innocence, we understand that Dumbledore believing them is no longer enough. Those outside of Hogwarts will not accept arguments from children, and will believe the adults who are misinformed instead. Once again, this is but the beginning of something that will get absolutely out of hand in Year Five.

I was delighted to hear that Alfonso Cuarón would direct this film as the previous two Columbus installments hadn't thrilled me and this story definitely needed a darker touch. Back then, I had not been treated to such pleasures as Children of Men and therefore didn't know the extent of his genius, but I got a pretty good idea when he turned out such a wonderful and visually amazing story. I only wish he'd come back to direct OotP, easily the darkest of the series so far, and I can only cross my fingers for the chance that he may return for the final installment. Regardless, even if this is the only film he directs in the series, I am confident that it will remain one of the best. He brings so much to the table; the transition of seasons using the Whomping Willow as a comedic device, the beauty of Buckbeak's flight, and the addition of the clock tower to Hogwarts to thoroughly illustrate the importance of time in the story. He even invents a wizarding candy that is not in the book, in a scene in which Harry, Ron, Neville, Seamus, and Dean all partake in a bit of "boys will be boys" fun by eating this candy that causes them to make various animal noises. This is bonding like we've never seen the boys do before, as Seamus and Dean are always drastically overlooked in the films, but in the books are good friends to Harry and Ron. It is little moments like this that make the whole film feel very complete.

It is therefore hard for me to nitpick this film, as it is such a standout in the series, but in the interest of this project, I must. There are a few minor discrepancies that I must point out, and one glaringly obvious one. First, Snape's behavior differs greatly from the book to the movie, most especially in the scene in the Shrieking Shack. I'll discuss this one further in my final paragraph on where Snape's loyalties might lie. Also, it is sad to see Quidditch so largely ignored in the movie when this is the only year (presumably, ever) that Harry and the Gryffindor Quidditch team will win the Quidditch Cup. There is only one match in the film, not even against Slytherin (the usual match up), but against Hufflepuff as that's the match in which Harry is attacked by dementors. It's just such a shame that Oliver Wood, who was a good supporting character in the first two films, isn't around for this one and doesn't get the glory of winning the Quidditch cup in his last year at Hogwarts, though I can see how they would have to cut it in the interest of time. My biggest gripe with this movie is one that disturbs many of the biggest fans, especially because it's so well visualized, and then blatantly ignored. Most especially because in order to fix this mistake, they need only add a few lines of dialogue, and maybe about 30 seconds on to the film. In the scene in the Shrieking Shack, when Sirius is revealed and Lupin and him tell the kids a bit of back story behind Peter Pettigrew, they never stop to explain why Sirius and Pettigrew are Animagi. Then later in the film, when Harry's Patronus takes the form of a stag, there is no explanation whatsoever. I thought that there must be a deleted or extended scene somewhere that would fix this mistake, but in fact there is not and they deliberately kept the audience in the dark. All that need be added would be a line of dialogue tacked onto Lupin's story. It may have gone something like this. "When I was at Hogwarts I had some very good friends. So good in fact, that they learned to become Animagi so that they could be with me on the full moon when I transformed. It made those nights all the more bearable when they were there. We went by, Moony, Wormtail, Padfoot, and Prongs. I was Moony, Peter was Wormtail, Sirius was Padfoot, and Harry, your father was Prongs." Harry starts, "What sort of animal...", but is then cut off by Sirius begging to get on with it, or Hermione getting angry, or something to that effect. This is a few lines of dialogue, taken almost directly from the book, to set up Harry's Patronus taking the form of a stag later. And when Harry realizes it, after actually conjuring the Patronus and after they've used the time turner, it would have been a beautiful scene directly from the book in which Harry is on the bank of the lake and his stag trots up to him and he reaches out to touch the antlers and mutters, "Prongs." It's beautiful, touching, and very sadly missing from the movie.

So finally a book offers me evidence that begins to get to the meat of the ultimate question (according to Borders' promotion of the 7th book, anyways), is Snape friend or foe? I have a few things to point out from this book. First, after everything has gone down the first time in the Shrieking Shack, and Snape has brought Sirius, Harry, and the others back up to the castle, Harry wakes up to overhear Snape speaking to Fudge. He tells him that Sirius must have used a very good Confundus Charm on the children to make them attack him and believe that Sirius was innocent. This seems rather out of character for Snape to be sticking up for the children; it seems that he's always looking for an excuse for Harry to be expelled and the evidence that he attacked a teacher seems like it would be the best one he's come across so far, even if he truly believed that he hadn't been doing it on his own free will. Furthermore, because Snape is an accomplished Leglimens, it seems that he of all people would know if Harry really was being confunded or not. Additionally, after Harry and Hermione use the Time Turner and free Sirius, Snape immediately flies off the handle and does a complete 180 on Harry, accusing him of somehow being at fault, even though, to Snape's knowledge, it is quite impossible for him to have done anything at all (even though he did, hee hee). Is his grudge against Sirius that strong that when he is captured and about to be given the Dementor's Kiss, Snape will forgive Harry for attacking him and brush it off as a mistake, but then try to accuse him of everything once he learns that Sirius got away? Fudge says something to Dumbledore regarding Snape that resonates almost as a forewarning for what is to come three years later, "Fellow seems quite unbalanced...I'd watch out for him if I were you, Dumbledore." It seems near impossible to me that Snape's hatred alone, of Sirius, James, Lupin, and Harry, would cause him to get as angry as he does, and to be as malevolent as he is (in this case, letting it slip that Lupin is a werewolf to students). No childhood grudge, in my opinion, should be so long-lasting and run so deep as to affect the offspring of those you hated. Perhaps all of the things Snape did to "save Harry's life" in the first year (nothing more than muttering a counter-charm against Quirrell, in my opinion), was merely to save Harry, as Barty Crouch, Jr. will do in the fourth year, for Voldemort and not to repay the debt he owed to James. In the movie, however, you will notice that Snape's role in the final scene is very different than in the book. In the book, he is knocked out through Lupin's transformation, and upon waking up, finds Harry, Sirius, and Hermione next to the lake and brings them up to the castle. In the movie, however, Snape comes to as Lupin is transforming and throws himself in front of the students in what looks like a heroic act of him protecting them. It seems out of character for Snape, but perhaps in character for any decent being, especially a teacher. At this point in the game, would the filmmakers have known about Snape and what he would do in the sixth year? The movie incorporated a lot of things from the fifth book, that had come out one year before the film was released, but what did it know about the sixth which was still being written? Did they simply assume that because Snape is considered a member of the Order of the Phoenix in the fifth book that he must be good, and therefore have him perform this act that any decent human being would do? Or do they know something we don't know? This remains to be seen, of course, but I don't know if it is some sort of clue. I know that Rowling likes to keep the filmmakers aware of things that will become important so that they don't have to hastily incorporate something later, but I don't think she would give away something so big. I am concluding that this is simply a little gesture, like the many that Cuarón threw in, that can't be taken to mean that Snape is friendlier than we think he is. At this time, I'm still firmly on the side of Snape being a foe, but I'm excited to get to the other books in the series to see if there's any telling lines, such as those found in this book.

ANTM, C08E05: Jelinas Reviews the Portfolio - "Gender-Bending Couples"

Livience — Tue, 03 Apr 2007 18:37:25 -0700

Before I get down to the usual business, a few things:

1. Was it just me or did Tyra actually look good at Panel? If only she would look in a mirror every day before leaving the house!
2. What is with this show making girls take gender-bending photos? Far as I can see, it doesn't seem to prove much except for which girls are hiding shenises (*cough*Jaslene*cough*).

Now, on to the rankings!!

9. Diana (BOOTED -- AND ABOUT TIME, TOO!)

"Red-Carpet Couple"

Di(M)ana was bland on set once again and the judges finally noticed. I know that every plus-sized model gets booted from the show because she's "lost her spark" or whatever, but, in this case, it's actually true.

And I think it's believable that this is her best shot. She was totally getting worked by her queen in that shoot.

Also: man, it was scary when she was crying in her man makeup.

8. Whitney

"Collegiate Couple"

Talk about your nasty pictures. Imagine a dude like that with boobs like that!! Heinous!!

But I think they should have taped down her boobs or something, the way they did for Diana in C5.

I also wish that Whitney had gone for more of a party-frat-boy vibe instead of a pompous, Phi Beta Kappa vibe. That would've brought some more energy to her shoot, IMO.

Then again, she does go to Dartmouth. Go fig.

I was a li'l disappointed in Whitney for gossiping about Natasha (and with Renee, of all people! That's just foul). But I have to love her for reacting with such genuine sorrow at Diana's elimination. Diana said she'd miss Whitney the most and I think it says a lot about Whitney that her first reaction was sorrow for Diana and not relief for herself.

I think that was the first time a hamster ever took so long to go get her picture from Tyra. Usually, they're like, "OH, thank God, thank you, Tyra! Oh, yeah, I'm gonna miss you, girl. WHOOHOO!! I'm still in the running!"

She and Dionne are still my favorites.

Correct me if I'm wrong, though, because I like to give credit where credit is due.

I wonder if she apologized to Natasha for not listening to her. At least she was able to admit that she was wrong on camera.

7. Jaslene

"Yachting Preppy Couple"

I'm sorry, but I totally have to disagree with the judges on this one. This picture looks SO not natural.

What preppy do you know that would leave his hair so frizzy under his hat? Ew. And I think she looks much too serene to be a prepster. She should have been perkier. The hand-holding pose was so boring.

But I do think that Jaslene takes the prize for "Manliest." Yikes.

6. Sarah

Rock Star Couple

She's just a girl with a beard. Her pose is so effeminate. She got double the frames and this was the best she could do? Pathetic.

I usually thinks she takes good pix, but this was just awful.

And, WOW, she is so irritating with all her contrived perkiness. I really hate that thing she does when she acts all excited and kind of jumps back and drops her jaw. Sometimes, she alternates that with sticking her tongue out between her teeth. Do any of you know what I'm talking about?

And it was pretty irritating, watching her all excited about winning the challenge when she knew full well that she had nothing to do with her own outfit. "Yeah, I was, like, 'I love the blue, it's great with my skin and hair.'" Shut up, Sarah. Ugh.

5.Brittany

"Backwoods Couple"

I didn't get all the raves about this one, either. I thought she should've tried more of a yokel vibe, instead of the "fierce lumberjack" she's got going on here.

These girls just don't know how to have fun.

4. Jael

"Bohemian Couple"

I actually rather liked this pic. Her pose, while a little feminine, is: 1. Nowhere near as feminine as Sarah's and 2. Much funnier. It really displays Jael's quirkiness and I kinda like that.

Oh, and how hilarious was it when Tyra called Jael up for review and responded to her by drawling, "Hiiiiiii, Jaaaeeeeeeeeellllll."

3. Renee

"80s Glam Rock Couple"

This picture totally works. She's got this whole George Michael thing going on. It's pretty ossom.

Renee is fouler than ever, though. Those comments about a plus-sized model never being on the cover of Vogue were SUCH an obvious ploy to demoralize Diana and Whitney. I rather wonder at Whitney for letting it get to her.

Oh, and how cute was Whitney with her "I can do whatever I darned well please" and "Shut the heck up, Renee." So cute!!

But back to the foulness that is Renee: notice how, when interviewd, she claimed that she picked out Sarah's winning outfit, except that Dionne picked out the shirt, but, later, it comes out that Dionne picked it. LIAR!!!

2. Natasha

"Gangsta Couple"

This is hands-down Natasha's best pic. Sad that she had to dress like a dude to get this caliber of results.

But it's genius! The grill! The K-Fed pose! The hand on the crotch! It's like she watched Malibu's Most Wanted a bazillion times in order to get into character! Sheer genius.

And, as creepy as her relationship with her husband is, I felt a little sorry for her when all the girls were "peeking" on her. She seems like a sweet enough kid, despite her idiocy.

1. Dionne

"Power Couple"

This pic is HOTT. She looks like a dude, but she looks FIERCE. I thought she was right on with what she was trying to do in the photoshoot; her pose exudes power and masculinity. I even like that she doesn't seem to be all that connected to her "wife." It tells me that "he" is putting "his" career above all else.

If this had been a real shoot, they would have been able to wrap it in the first five frames. Why keep going when you already did it right? You go, girl.

And she did look good at Panel; and all she had to do was change her top!

One thing I will say, though: tone down the bitterness at losing the challenge a bit because while, yes, you did pick Sarah's outfit, you also picked your own, and your own wasn't good enough. I say this because I love you, Dionne, and I don't want you to be arrogantly deluded like most of your competition.

But you can always count on my girl Dionne to bring the comedy. Gotta love her for that.

What do you think?

Join the Movement: Baroque

Princesskitty22 — Sun, 06 Apr 2008 09:24:51 -0700

A term used in the literature of the arts with both historical and critical meanings and as both an adjective and a noun. The word has a long, complex and controversial history (it possibly derived from a Portuguese word for a misshapen pearl, and until the late 19th century it was used mainly as a synonym for `absurd' or `grotesque'), but in English it is now current with three principal meanings.

Primarily, it designates the dominant style of European art between Mannerism and Rococo. This style originated in Rome and is associated with the Catholic Counter-Reformation, its salient characteristics--overt rhetoric and dynamic movement--being well suited to expressing the self-confidence and proselytizing spirit of the reinvigorated Catholic Church. It is by no means exclusively associated with religious art, however, and aspects of the Baroque can be seen even in works that have nothing to do with emotional display--for example in the dynamic lines of certain Dutch still-life paintings.
Secondly, it is used as a general label for the period when this style flourished, broadly speaking, the 17th century and in certain areas much of the 18th century. Hence thus phrases as `the age of Baroque', `Baroque politics', `Baroque science', and so on.

Thirdly, the term `Baroque' (often written without the initial capital) is applied to art of any time or place that shows the qualities of vigorous movement and emotional intensity associated with Baroque art in its primary meaning. Much Hellenistic sculpture could therefore be described as `baroque'.

The older meaning of the word, as a synonym for `capricious', `overwrought' or `florid', still has some currency, but not in serious criticism.

Carvaggio,The Death of the Virgin, 1605-6, Oil on Canvas, LouvreCaravaggio and Annibale Carracci are the two great figures who stand at the head of the Baroque tradition, bringing a new solidity and weightiness to Italian painting, which in the late 16th century has generally been artificial and often convoluted in style. In doing so they looked back to some extent to the dignified and harmonious art of the High Renaissance, but Annibale's work has an exuberance that is completely his own, and Caravaggio created figures with an unprecedented sense of sheer physical presence. From the Mannerist style the Baroque inherited movement and fervent emotion, and from the Renaissance style solidity and grandeur, fusing the two influences into a new and dynamic whole. The supreme genius of Baroque art was Gianlorenzo Bernini, an artist of boundless energy and the utmost virtuosity, whose work--imbued with total spiritual conviction--dominates the period sometimes called the `High Baroque' (c. 1625-75). Slightly later, Andrea Pozzo marks the culmination in Italy of the Baroque tendency towards overwhelmingly grandiose display.

In the 17th century, Rome was the artistic capital of Europe, and the baroque style soon spread outwards from it, undergoing modification in each of the countries to which it migrated, as it encountered different tastes and outlooks and merged with local traditions. In some areas it became more extravagant (notably in the fervent religious atmosphere of Spain and Latin America) and in others it was toned down to suit more conservative tastes. In Catholic Flanders it had one of its finest flowerings in the work of Rubens, but in neighbouring Holland, a predominantly Protestant country, the Baroque madeCarracci, Holy Women at the Tomb of Christcomparatively slight inroads; nor did it ever take firm root in England. In France, the Baroque found its greatest expression in the service of the monarchy rather than the church. Louis XIV realized the importance of the arts as a propaganda medium in promoting the idea of his regal glory, and his palace at Versailles--with its grandiose combination of architecture, sculpture, painting, decoration, and (not least) the art of the gardener--represents one of the supreme examples of the Baroque fusion of the arts to create an overwhelmingly impressive whole. (The German term Gesamtkunstwerk--`total work of art'--has been applied to this ideal.) In France, as in other countries, the Baroque style merged imperceptibly with the Rococo style that followed it.

Harry Potter and the Order of the Phoenix - Spoilers for Year Five

Phasekitty — Wed, 18 Jul 2007 16:12:14 -0700

...Some wounds run too deep for the healing.

I had a blast seeing OotP in IMAX 3D last Friday, and I'd say it was certainly worth the 3 hour wait in line (I brought my DS- the time just flew!) As the books keep getting longer I think my posts do too! Below are my thoughts on Year Five, book and film.

This book is easily my second favorite in the series (next to PoA). I seriously love how dark it is and how the real evil is the supposed "good guys" as opposed to Lord Voldemort. We only get one scene with him in this one (though it's a good one!), yet have to endure the true evil that is Umbridge the whole time. There are some really great characters introduced in this book, my favorite being Luna. She's so tragic and yet so sweet that you can't not absolutely love her. My love for her gets stronger and stronger with each pass I have at this book. There are a lot of great members of the Order that we meet- Kingsley is cool and Tonks is downright awesome. Then there are the new Ministry people who we are introduced to such as Amelia Bones, who is immediately likable during Harry's trial, and Dolores Umbridge, of course, and the fact that we loathe her is a perfect testament to what a great character she is. And finally we meet the evil that is Bellatrix Lestrange, an amazing character who we hate to see more of, but of course will, in books to come.

Between the DA, the battle at the Ministry, losing his godfather, and hearing the prophecy, Harry grows a lot in this book. He begins as an angry teenager, flying off the handle at everything. I heard a lot of complaints at how annoying Harry is in this book and it's true, but also completely normal. My mother tells me that I was a nightmare to deal with at 15, I seem to remember a lot of shouting matches myself, and therefore cannot imagine how horrible I would have been had I also lost a friend, been deemed a lunatic to the general public, and knew that my mortal enemy was out there trying to kill me. Harry turns a lot of his anger into productiveness, however, by starting up the DA and giving his exclusive interview to the Quibbler. And even though he does fly off the handle with Ron and Hermione a lot (and really loses it with Dumbledore at the end), you can hardly blame him for any of it. Imagine how you would feel if the girl you'd had a crush on for two years cried every time she kissed you?

Really the only reason this book is so hard for me is because of losing Sirius. The first time I read this book I was deeply depressed. I honestly mourned. The second time I read it, I stopped for about a week when I got to the chapter entitled "Beyond the Veil" before pressing on to the end in one teary night. This time, however, I had to plow right through as I am on a tight schedule to finish them all before this Friday at midnight. It gets a little bit easier to read every time, but I can't say that I'm still not sad about losing Sirius. Unlike other characters who have died, we lost Sirius in such a questionable way that we have to wonder why? The veil has so far not been explained to us at all, we were simply forced to accept that because Sirius had fallen through, he was dead. And then, of course, there's all that guilt knowing that had Snape continued Harry's Occlumency, had Harry listened to Hermione's reasoning, had Dumbledore told Harry exactly what he expected Voldemort to do, had Tonks dueled longer with Bellatrix, etc., etc. maybe Sirius wouldn't be dead.

I'm happy to say that the movie does the book justice. So much, in fact, that I think it has become my favorite in the series so far. While I LOVE the third movie, and think that style-wise OotP can't hold a candle to it, I think that this fifth movie represents it's source material in the best way so far. The only thing I really hated, honestly, was about the first ten minutes or so. I thought the movie was going to be horrible based on the first ten minutes, but then it took a major turn for the better once Harry got to Grimmauld Place. Why did I hate the first ten minutes? Oh, let me count the ways. First, Harry pulls out his wand in front of no less than five Muggles! He would never get so angry that he would do something as stupid as that! Then, for some reason, the filmmakers decided that they didn't like the way the Dementors looked in the third flick and changed their appearance for the worse in my opinion. Why not be consistent here, especially where there was nothing wrong to begin with? Then, Harry performs the Patronus charm to defend himself and it's nothing more than a large blur of silver. Apparently Harry's Patronus is no longer a stag? This (or later in the DA meetings when everyone else is busting out their Patronuses) would have been the perfect way for them to correct their mistake from the third movie and explain why Harry's Patronus takes this form, but instead, they give it no form at all. Then, once back at the Dursleys, Harry gets a letter from the Ministry that speaks to him?!?! What?!?! The only letters that do this are Howlers, and in any case, the letter is scolding him for doing magic in front of Muggles, yet this speaking letter is allowed with no problem in front of three Muggles? Once finding out that he will be expelled from Hogwarts, Harry then goes upstairs to his room to sulk. In the third movie, when he thought he would be expelled for blowing up his aunt, he freaks out, gathers all his stuff, and takes off for life as an outcast. His mindset has always been that if he could not go to Hogwarts anymore the last place he would want to be was at the Dursleys. For him to go up to his room is incredibly uncharacteristic. From there on out, my only little disappointment was that we didn't get any sort of elaboration on Tonks' character. She just sort of shows up, like we should know her, and gets no screen time at all. How will we sympathize with a mourning, mousy haired Tonks in the next film if we don't see her bubbly, bubble-gum-pink-haired personality in this one? I can only assume that her storyline will be cut altogether in the next one.

Speaking of cutting things though, I was incredibly pleased with how much they managed to squeeze into their short running time. I predicted, before I went in, that they would cut Quidditch, Grawp, and the centaurs, and I was only right about one of those. It's a shame they cut Quidditch (Ron hardly gets any glory otherwise) and Grawp doesn't come to the kids rescue from the centaurs at the end exactly how I'd envisioned it, but it was still really nice to see them keep such important elements in the story. Dumbledore's and the twin's exits from Hogwarts were precisely as I would have imagined and so well done. The detentions with Umbridge are brutal and the film makes the "educational decrees" so much more ridiculous and laughable in the movie than the book ever could have done. And of course, there is the major Sirius time that is necessary and completely succeeded in making me cry multiple times in the theater. Harry's scenes with Luna didn't help either; the scene with Harry, Luna, and the thestrals is so beautiful and such a wonderful way to introduce the creatures and get a better sense of Luna's character (in the book the thestrals are introduced in class and Luna doesn't divulge information about her mother until the last chapter)

Finally, the battle at the Ministry is done wonderfully. You don't necessarily get a sense of the danger in the movie as you do from the book, where the kids are being knocked down one by one and Hermione nearly meets a brutal end, but when the Order arrives, the battle truly begins. Harry dueling next to Sirius is a beautiful touch that the book doesn't have and I think I let out a very audible sob when Sirius laughs and says, "Nice one, James." The movie had hardly touched on how Sirius felt that with Harry it was like getting his best friend back like the book did, but that one line said everything. I don't know who to thank for it, but an all encompassing thanks to the "filmmakers" goes out for that one, because it was a small stroke of genius. I had envisioned Sirius' death differently, for one he doesn't get hit with "Avada Kedavra" in the book, but I understand how they wanted to get the point across that he was gone. It did look like he almost deflected the spell, though, and when he fell through the veil he still had a very alive look to him. It was the "floating" through that I didn't like- I always envisioned his death as the book described it, being hit square in the chest with a spell and, arching back, falling into the veil in a sort of slow motion. I loved how the battle went silent as Harry screamed after Sirius and chased Bellatrix. I loved Voldemort egging him on to hurt her. And I really loved the way they showed Harry being possessed, Dumbledore looking genuinely frightened, and Harry fighting Voldemort off with love. When I reread the book I wondered how they would get that point across, but they did in a way that I would never have thought of and it worked. I cried so much during the end of that movie (and later in the car, and the following day, etc...I was really attached to Sirius) that I really feel like I need to see it again to truly appreciate it all, but I do know that I absolutely loved it. Cut the first ten minutes out and I think we'd have a near perfect Potter film.

Another revolutionary thing happened when I reread this book. I think I have finally joined the side of those who trust Snape. I read through this book keeping a close eye out for evidence of his betrayal and found nothing. On the contrary, while reading those Occlumency lessons again, I found that he was actually very fair with Harry. Through Harry's hatred he would never recognize it, but Snape really tries to make him learn Occlumency. He answers all of Harry's questions with informative answers as opposed to the snide comments about things he need not know about that he might normally give. He never catches Harry off guard, but instead readies him before every turn and genuinely tries to help. When he kicks Harry out and refuses to see him again, it is only natural, Harry invaded his privacy in a very unforgivable way by going into that Pensieve. Additionally, Snape was a tortured kid, we all knew someone like that, and they will try to hide their past, as opposed to overcoming it in any way they can. Finally, when Harry has no one else to turn to and delivers the cryptic message to Snape that "He's got Padfoot in the place where it's hidden," Snape contacts Sirius right away, then alerts the Order when he reasons that the kids have gone off to the Ministry. If he had been on Voldemort's side at that moment, he would have done nothing at all and Harry and his friends would have died there that night. Snape could have easily claimed to not understand the cryptic message. As for goading Sirius about being locked up (which is why Harry ultimately lands on Snape to shoulder the blame for Sirius' death), it's simply a childhood grudge that would never have died. Snape will never get over the way Sirius and James treated him, and therefore will always be awful to Harry and was to Sirius before his death. The only argument I have against Snape in this book is sheerly tactic- Rowling could make us forget all of his untrustworthiness for now, so that our guards are down when she makes him seem supremely evil in Book Six. This, however, is the only thing holding me back from completely putting my trust in him. One more book to go and then we get some answers.