Tron does look pretty good, and now I wanna see iron man 2. I BARELY saw the first one last week. lol.
Lately we've seen: strange wilderness (stupid funny), all of smallville season 8(haven't been keeping up), capitalism: a love story(really good movie, save for the last part where it tried to get you to vote for hobama), bad boys (first one, it's still pretty awesome, and Tea Leoni w/brown hair ftw), avatar (interesting, and on a 50" tv anything with that kind of graphics can keep you interested), lots of the office(that shows just cracks me up), waiting (really gross, but still funny), the men who stare at goats (pointless, but still a good movie, Clooney and Bridges are pretty damn funny. lol.), food, inc. (Wow, pretty intense movie, once again a micheal moore film that could have ended up better, but the movie as a whole was informative and useful), drillbit taylor (Owen wilson plays a really good hobo. lol. pretty funny overall), extract (created by some good movie talent, but the movie itself wasn't that funny.), all about steve (funny, sandra bullock is pretty ditzy), 500 days of summer (chick flick, very sad and disappointing, I was glad my gf picked is as a rental, I woud've been pissed if I bought that movie) the lovely bones (that movie was fucking freaky, and it disappointed me because I thought I was going to see "the departed" or "four brothers" Mark Whalberg after killing his daughter, but still a good freaky movie overall), The goods (I could watch this movie over and over again, guy from entourage is too damn funny in this movie!), observe and report (very very funny, but one of the last scenes they show this guys dick running, very weird but still a funny movie.), Four brothers (This movie I may actually buy, I know it came it a while back, but damn that movie is intense!)
I think that's all I got for now, I may go out and get some more later this week.
This past week marked the thirty-first anniversary of the death of Jim Thompson, the cult-object writer who worked on the scripts of Stanley Kubrick's The Killing and Paths of Glory, but whose real gift to film history was a shelf's worth of pulp novels (The Killer Inside Me, The Getaway, The Grifters) so intense and obsessive in their seaminess that they amount to a double-dog-dare to the movies: You think you're the repository of forbidden daydreams? Put this on the big screen! Two versions of The Getaway, including one with Sam Peckinpah's name in the credits, softened the relationship between the husband and wife bank robbers on the lam (the star of the Peckipah version, Steve McQueen, having objected to the less cheerful elements of a screenplay treatment turned in by Thompson himself); Coup de Torchon, directed by Bertrand Tavernier and based on Pop. 1280, is in motherfucking French! Even the best of all Thompson adaptations, Stephen Frears's The Grifters, is handsomely mounted and has a good vicious streak but keeps it distance from the vortex of Thompson's deeply felt hatefulness; it maps the dragon's lair down to the last molted scale but resists the urge to fling you in there by your feet and nail the door shut behind you. 
