THE DANMAN CAN

Grave Descend  (1970) is a solid thriller, sort of a lite version of Elmore Leonard meets Ian Fleming ( James Bond ).

After Dark, My Sweet  (1955) is another great book by Thompson . I'm very intrigued how this one was adapted to film , which is next on my Netflix queue.

I enjoyed Inside Llewyn Davis  (2013) just as much on a second viewing. This one was #8 on my Top Films Of 2013 . Here are a few thoughts from my first viewing.

I don't understand the lukewarm reaction on Sin City: A Dame To Kill For  (2014) - overall, I thought it was great. I had no issues being fully immersed back into this world, even after 9 years. A lot of fun.

Boyhood  (2014) is my new favorite film of the year.

Focus On Film   Episode 20  is up! Download the MP3  HERE . In this episode: November 2014  Criterion Collection   Titles Announcement Best/Worst Of The Month  –  THE OLD DARK HOUSE  (1932), DIVERGENT (2014), TWIN PEAKS: FIRE WALK WITH ME  (1992), ERASERHEAD (1977) "Criterion Most Wanted" "Focus On Film Theme"  & commercial music:  Daniel Sardella

An incredibly diverse album (even for Trans Am ). They pull out all their influences, from Jean Michel Jarre / Vangelis to Led Zeppelin / Pink Floyd to  Motörhead / Metallica . A big winner.

The first segment by Kar Wai Wong is typical of his style—gorgeous production design and cinematography, slow and melodramatic (I like him but am not enamored with him the way most people are). The middle segment by Steven Soderbergh  is decent and amusing, in line with some of his other more indie projects like FULL FRONTAL and THE GIRLFRIEND EXPERIENCE . I found the final segment by Michelangelo Antonioni   to be the most pointless and bland.

These bees are absolutely killer.

Coraline  (2002) was my first Neil Gaiman  read (believe it or not, I've never read Sandman , which is extra weird as I love Sam Kieth ) and I absolutely adored it. I love the film and plan to rewatch it tonight now that I finally got around to reading the book.

Even from just one listen, it's clear that this album is excellent and will find a place in my Top 20 of the year. But sadly, I have to deduct a 1/2 * (almost went for a full star) from what could have been a perfect rating (and album) because of the atrocious mastering (and likely engineering— c'mon , Dave Fridmann ) job ( Howie Weinberg is usually great, what happened?). See the screenshot below and hold back the bile that rises in your throat.