I'm not even sure what's on these days. I think there are new episodes of The Shield and
Nip/Tuck. Possibly Rescue Me. I haven't watched Entourage, Boston Legal, Streetball,
Beyond The Glory, The First 48, Rollergirls, Intervention. The Adam Carolla Project is
over, so is Kathy Griffin's My Life on the D-List.
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Walk The Line did well this year, and Ray did well last year. The music biopic has
become a standard vehicle for a studio to cash in at the box office and to gain Oscar
interest. In 1972, the Oscar race was fierce, and Lady Sings the Blues got the blunt end of
What makes a Poster Valuable?
For movie posters, value is determined by a combination of factors, the most important
being the title of the film. The most desirable posters are those from the most universally
loved films such as Wizard of Oz, Casablanca, or It's a Wonderful Life. The second
deciding factor in desirability is the graphics on the poster. Often the title to a film poster
might not be of importance but the graphics can be gorgeous. The poster might be
illustrated with beautiful art-deco graphics or depending on the artist, of which many
well-known illustrators of the first half of the twentieth century worked on posters, it
could make the poster valuable. Finally the Condition is of great importance. These three
factors are usually the most important in determining value.
Ne Autograph Posters Have You Seen...? A Personal Introduction to 1,000 Films
Yes, it's a book. But it's a book about movies, and an essential one at that. Just how many
list-based books of delectable movie commentary can David Thomson compile? Well,
how many movies are worth seeing? At least this thousand according to Thomson, an
English-born San Franciscan and most famously also the author of the New Biographical
Dictionary of Film. This companion piece, self-consciously a "gesture toward history,"
offers yet more of his profoundly learned, personal ruminations on what movies mean to
us and why -- without illustrations or a rating system because, no, seriously, he doesn't
need them. That's the beauty of it: Thomson proves how far beyond synopsis-and-verdict
the literature of cinema can and should go. His detractors in the field would call him
stifling but should just be glad for their own sakes that real fluency has fallen out of
fashion in movie criticism. It is fair to go in to this book feeling overwhelmed by its
scope, and to want to refute some of its pronouncements, but that's how you know it's
working; before long you'll wonder what you ever did without it.
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