Nick's Flick Picks: The Blog
A film blog under the influence
You know those moments when you discover that a friend who excels at one thing is also humblingly talented at another? This is one of those moments. Keep shutterbugging, TR! (My favorites so far, besides the stunner I've reproduced at left, are this one, this one, this one, this one, this one, and, which can hardly be a surprise, this one.)Labels: Blog Buddies
posted by NicksFlickPicks at 11:17 PM
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Dr. S said...
These ARE cool! Whoa, Tim! I like your shots a lot.
I find that I see the world completely differently when I'm carrying my camera around--just as I see everything differently if I carry around a notebook and pen.
tim r said...
This is so sweet and flattering and unwarranted, thank you Nick! I love your pictures too, Dr. S. And I completely agree with you about what happens the minute you pick up a camera. I spotted so much stuff in Soho the other day that I've never noticed before, just because I was retraining my eyes to slow down and look properly.
Hoping to get lots of good snaps on trips to LA and Berlin over the next couple of weeks.
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MY PROFILE THE LATEST THE BEST THE FAVORITES THE WOMEN THE REST |
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| The Movies of 2012: |
136 | |
| Amour | A | |
| Anna Karenina | C | |
| Argo | C+ | |
| Barbara | B | |
| The Central Park Five | B | |
| Detropia | B | |
| Django Unchained | C | |
| End of Watch | B– | |
| Flight | B– | |
| Girl Walk // All Day | B | |
| The Guilt Trip | C | |
| Hitchcock | D | |
| The Hobbit: An Unexpected Journey | C– | |
| Holy Motors | A– | |
| How to Survive a Plague | A– | |
| Hyde Park on Hudson | F | |
| The Impossible | C+ | |
| Life of Pi | B+ | |
| Lincoln | B+ | |
| The Loneliest Planet | B | |
| The Master | B | |
| Middle of Nowhere | B+ | |
| Les Misérables | D– | |
| On the Road | C+ | |
| The Perks of Being a Wallflower | B+ | |
| Rust and Bone | B– | |
| The Sessions | C+ | |
| Silver Linings Playbook | C+ | |
| Sister | B+ | |
| Skyfall | C+ | |
| Starlet | A– | |
| This Is 40 | D+ | |
| Zero Dark Thirty | B | |
| Coming Attractions: | ETA | |
| Any Day Now | Landed | |
| Promised Land | Landed | |
| Feature Films: | 19 | |
| Antiviral | B+ | |
| The Bella Vista | A– | |
| Beyond the Hills | B– | |
| Clip | B– | |
| The Final Member | B | |
| Hemel | C– | |
| Holy Motors | A– | |
| Keep the Lights On | B | |
| Like Someone in Love | B+ | |
| Mekong Hotel | B | |
| Once Upon a Time Was I, Verônica | B– | |
| Out in the Dark | C | |
| Paradise: Love | B+ | |
| Reality | B– | |
| The Repentant | B– | |
| Room 237 | D+ | |
| The Three Disappearances of Soad Hosni | B | |
| War Witch | B+ | |
| Westerland | C– | |
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Fifty Key American Films ($27/pbk), new from Routledge,
edited by Sabine Haenni and John White.
Includes my essays on
The Wild Party,
The Incredibles, and
Brokeback Mountain. Intended as both a newcomer's guide to the terrain
and a series of short, exploratory essays about such influential works as The Birth of a Nation, His Girl Friday, Sweet Sweetback's Baadasssss Song,
Taxi Driver, Blade Runner, Daughters of the Dust, and Se7en.
The Cinema of Todd Haynes: All That Heaven
Allows ($25/pbk), new from Wallflower Press, and distributed in the USA by Columbia University Press. Includes the essay
"'The Invention of a People': Velvet Goldmine and the Unburying of Queer Desire" by Nick Davis.
More, too, on Poison, Safe, Far From Heaven, and all the rest of Haynes' films by Alexandra Juhasz, Marcia Landy,
Todd McGowan, James Morrison (ed.), Anat Pick, and other scholars. "A collection as intellectually and emotionally
generous as Haynes' films" —Patricia White, Swarthmore College
Film Studies:
The Basics ($14/pbk), new from Routledge. Award-winning
film scholar and teacher Amy Villarejo finally gives us the quick, smart, reader-friendly guide to film vocabulary that every
teacher, student, and movie enthusiast has been waiting for, as well as a one-stop primer in the past, present, and future of film production, exhibition,
circulation, and theory. Great glossary, wide-ranging examples, and utterly unpretentious prose that is nonetheless rigorous in its analysis;
the book commits itself at every turn to the artistry, politics, and accessibility of cinema.
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