Part I / Part II

The Baroque Cycle — Vol III: The System of the World

Neal Stephenson

***WARNING: SPOILERS ABOUNDETH***

So, now finally at the end of this eight-book series (collected in three volumes), I see it can broken down thusly:

Books 1, 2 & 3 — Introduction

Books 4, 5 & 6 — Plot/Action

Books 7 & 8 — Denouement

Which isn’t really a bad way of structuring something, in terms of simply how to tell a story in parts; but when, as indicated above, those parts are whole books unto themselves, well, it could be considered a little tedious.  In fact, is a little tedious.  Books 7 & 8 — especially Book 8 — while I’ve labelled them denouement, could also be described as ‘anti-climax.’  For, really, nothing much happens.

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If I had felt so inclined, I could have written an article about the slow demise of Sarah McLachlan; almost everything she’s done since 1997 has basically been schlock.  It’s something I’ve pondered from time to time when either thinking about her music, thinking about times when I was obsessed with her music, or actually listening to her music, which I admit happens very rarely because her early stuff is actually still so moving that it takes a lot out of me, and it’s not something I want to do to myself too often.

So I never wrote it.  Happily, though, Sarah Liss did.  So you can read her article on CBC.ca, which basically says everything I would have wanted to say about the state of McLachlan’s art and career (admittedly much better then I probably could have done it).
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TIFF ‘o8: The Conclusioning

As promised in comment and post proper, here I present my closing thoughts on the festival that was Toronto 2008.  And only one month to the day after festival ended, which means one month and nine days after such a review would be useful, because really, what use would someone’s opinion about the quality of a film festival be at any point after that festival has begun?  What good’s a film review once it’s too late to see the film?  laebmada gets existential

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Cape No. 7

Dir: Te-sheng Wei (魏德聖)

When a tiny little movie that cost $50 million NTD ($1.6 million USD) to make earns over $350 million NTD (around $11.6 million USD) in just over a month to become the highest-grossing domestic film in Taiwanese history, you kind of have to go see it.

And it’s worth seeing.  While it falls prey to some of the same problems as any rom-com, there’s enough here to differentiate it from the norm and make it an entertaining film.  Not a great, outstanding film, but solidly decent.

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Well, well, well. Turns out I was right. First Darren Aronofsky gets the Venice FIlm Festival Best in Show. And now Danny Boyle gets the Golden Cadillac. Never doubt me again. I am laebmada!

On with my Toronto International Film Festival coverage. Surprises within!

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Part I

The Baroque Cycle — Vol II: The Confusion

Neal Stephenson

I actually finished this one a couple of months ago, but didn’t write about it at the time for various reasons.  But I have now just started reading Vol. III, The System of the World, which has got me all excited about this series again, and there’s no way I can contain my inner Culturatti-ness any longer.  Ergo this long overdue post.

This volume is definitely the meat and potatoes of the series.  You want plot?  This is where you get it.  As I mentioned in Part I, Quicksilver is almost all set-up and introduction: to the characters, to the world of the time etc.  There’s really no actual ’story’ at all; this is fine since what Stephenson does give us is so well-written and interesting we happily follow along.  But it’s in The Confusion that we finally have all the disparate pieces flung together, and, I have to say, I was not at all expecting what came out of it.  The central, core plot device is both so simple for an expert on that time period to use, and yet so clever (to use it in the way he does) that it really provides for an enthralling yarn.

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It’s been real hard, this total drought of culture we’ve all had to endure these past couple of months. Absolutely nothing to do, nothing to see and certainly nothing to write about. But finally, it is over. Another Toronto International Film Festival means a return to the glamorous world of unedited, unconsidered, sleep-deprived and consciousness-streamed film reviewership. It’s what I do best, because it’s what I do most easily.

This go-’round won’t be matching last year’s tally of eighteen movies; the foul responsibility of work prevents me from seeing any more than ten or eleven, alas. And the foul responsibility of havin’ other shit to do prevents me from taking up too much time discussing those ten or eleven films.

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By: Beal, graeme powell, James17930, Sarah P. & Tanya K.

Part I

Here we go again, cataloguing the last half of EW list of ‘new’ classic movies (don’t worry if you’re not quite sure what that means — after seeing what made the list and what didn’t, we’re not sure if they’re even sure).

Enjoy the ranting.

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Le Bassin Aux Nympheas
Claude Monet (1840-1926)
Signed and dated
Oil on canvas
100.4 x 201 cm
Painted 1919

Another record-setting price for a Monet painting. Le Bassin Aux Nympheas fetched an astounding $80 million dollars, doubling the previous record for a Monet set only last month. Geez, the market for Monets is ludicris right now. Hmm, that makes me wonder how much mine is worth. Not that I would ever sell it of course. I appreciate my Monet purely for its artistic merit, not for its monetary value — I’m just interested is all.

Le Bassin Aux Nympheas is an extremely rare Monet, and has only been available for public viewing once in almost 90 years. In general, the demand for 19th century (early 20th century) European art has increased 13% since 2007. Check out the BBC page with video from the Christies’ auction. I would imagine that that auctioneer received a very generous tip.
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By: Beal, graeme powell, James17930, Sarah P. & Tanya K.

Here’s a surprise: someone published a list on the Internet! This time around, it was convenience store impulse-rack mainstay Entertainment Weekly with their countdown of 100 “New Movie Classics.” By their definition, “new” includes only the last 25 years (sorry, Death Wish II!), which means that none of us writing this can be classified as “new” anymore. Which is sad: we bunch of non-new people, sitting at our computers, our bones aching, nitpicking an Entertainment Weekly online list. Textbook sad.

We’ll begin with selected numbers from 100 down to 50 (lists are here and here), and get to the remainder later.

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