Sounds like a really interesting documentary. Check out the Homepage: "Slingshot Hip Hop braids together the stories of young Palestinians living in the West Bank, Gaza and inside Israel as they discover Hip Hop and employ it as a tool to surmount divisions imposed by occupation and poverty. From internal checkpoints and Separation Walls to gender norms and generational differences, this is the story of young people crossing the borders that separate them."

Don't try to watch the crappy version of the trailer on YouTube, bub! It will appear on MySpace a little later today! Snikt!

Update: It's there and it looks sweet!

Check out Star Wars III-Revenge Of The Sith or Iron Man for example. There are way more movies if you check around the site.

HEADCHEESE -PART 2 - HEADCHEESE -PART 3

dignan00: "Co-produced by Kim Henkel, co-writer of the original Texas Chain Saw Massacre with Tobe Hooper, HEADCHEESE is a short 16mm experimental/horror film by Duane Graves and Justin Meeks. It features many locations from the original Texas Chainsaw Massacre as they appear today. It is much in the vein of Richard Kern, David Lynch and classic horror movies of the 1920's such as those by Sergei Eisenstein. Synopsis: "Nestles the viewer cozily within the diseased mind of a serial killer as he confronts the lurking demons that have driven him to madness and murder." Look for their other short works on their YouTube channel at dignan00 or visit www.greeksproductions.com for more information!"

Watch The Show. It's user generated content, it's fresh, it's wild, it's all the bullshit bingo in the world...

What I really like is the guy's special "my dvd collection" series. Here's the latest episode:

Dude, you're cool.

Oh, yes, more people talking about their dvd collections on YouTube....

Dude, they stole your idea!

Fascinating: Adactio.com - Iron Man and Me

It took me forever to check out what the hype was all about and I was pretty disappointed. Dr. Horrible is a villain, his nemesis is Captain Hammer and he is in love with a girl. Dr. Horrible has a blog and there were a bunch of free "webisodes" a while ago. By now there is nothing but merchandising and you gotta buy the dvd to watch this. It's something that marketing people would come up with to push some brand. Considering that Joss Whedon has done a thing or two to make entertainment more intelligent and written a few superhero comics himself, this is pretty weak. I understand that Whedon would rather like to be a musician. He's actually a good songwriter and the musical side sort of works, but it's still too nice, too Disney, too mainstream and simply not funny at all.

A smile here and there is all you get from me, Mister! This is a "please become a viral marketing success story" that could have been much better. You can't sell this shit to any TV station, but you can put it on the internet and give the fanboys something to talk about.

MTV: The internet damn-near gave the actor a standing ovation when news broke last month about Downey not only signing on for “Iron Man 2,” but also officially joining the cast of the absurdly-anticipated “Avengers” movie. “If we don’t get it right it’s really, really going to suck,” said Downey. “It has to be the crowning blow of Marvel’s best and brightest because it’s the hardest thing to get right. It’s tough to spin all the plates for one of these characters.”

Wow, that's what I call a slow news-day!

James Bond war immer eine einfache Formel: die besten Stunts, die wahnsinnigsten Sets, coole Schurken, schöne Frauen und Technik-Gadgets. Okay, das alles ging für "Casino Royale" über Bord, M war schon vorher eine Frau und John Cleese hat als "comic relief" auch nicht so richtig gezündet, aber muss man die Marke James Bond deswegen so verwässern, dass davon nichts mehr übrig bleibt? Sie haben auch Superman einen Technodress verpasst und am Ende bekam der Mann nach einem Jahr den alten Anzug zurück. Never change a winning team.

Mag "Quantum of Solace" auch noch so erfolgreich sein, ich habe mich nur mäßig amüsiert und dachte, hey, warum spielt nicht stattdessen Axl Rose den Superschurken aus Amerika, "Chinese Democracy" wäre als Soundtrack durchgewunken worden (ey, "live and let die"...) , man hätte sich über die 80er amüsiert, etwas "tongue in cheek", wäre gegangen...

Stattdessen eine ironiefreie Endlosverfolgungsjagd mit hölzernen Gesichtern, pseudokritische Amerika-Kritik und CGI-Anleihen. Wenn wir Bond wollen, wollen wir die verdammt besten Stunts und die verflucht besten Kameraleute aller Zeiten und nicht irgend so ein Computergezuckel. Es sollte "echt" wirken oder es ist nicht James Bond.

Und der neue "James Bond" ist soviel James Bond wie Batman noch Batman war als er zwischendurch "Azrael" hieß und eine Technorüstung trug. Tarzan im Jeansanzug funktioniert nicht (just don't change the original design, ok?)

Und für "Chinese Democracy" gehören einige Hosenboden versohlt. Sowas macht man heutzutage nicht mehr und vor allem gibt man für solch pubertären Unsinn nicht mehr soviel Geld aus.

Extended interview with Woody Allen, talking in detail about his influences and the inspiration behind many of his best films

Woody Allen - A Life In Film (Part 1-9)

The Gotham City Crime Fighters Not Only Recorded The Classic "Who Stole The Batmobile" But They Dressed The Part As Well.

60sgaragebands.com: Songs Inspired By Batman: "In 1966, it was a regular occurrence for a rock or pop star to make a guest appearance on the popular (and even forgotten) television series’ of the day (check out our Cameos section for further proof). Batman was no exception, and through the course of its three-year run, the program featured such disparate musical acts as Liberace, Leslie Gore, Chad & Jeremy, Johnny & The Greenmen, and the great Paul Revere & The Raiders. On the contrary, the popular (and even forgotten!) musical acts of the day tried to capitalize on the show’s meteoric success by recording songs inspired by the program, whether they be parodies, tributes, or ditties aimed at a young audience. "

A series of film posters advertising a Quentin Tarantino Film Festival. Each poster explores character interaction within scenes, displayed using a circular mapping system.

(Steve McQueen. Photograph: Felix Clay)

Guardian.co.uk: "McQueen's Hunger reveals the artist as a master of cinema - a talent first brought to light by the Turner prize. Steve McQueen's film Hunger is the answer to a lot of questions. Perhaps the most radical and pertinent is one asked by critic Dan Fox in an editorial in this month's issue of Frieze magazine: where's the beef? Where's the content in art now? As the world faces recession, will the clever-clever games of the art world continue to satisfy? Won't people want art to be about something?"

Details for "Hunger": 2008, Ireland, UK, Cert 15, 90 mins, Drama, Dir: Steve McQueen With: Liam Cunningham, Michael Fassbender, Stuart Graham Summary: Drama about the events surrounding the 1981 hunger strike by IRA prisoners, led by Bobby Sands, over conditions at the Maze prison

Related article: McQueen and country "He has won the Turner Prize, been a war artist in Iraq, and is campaigning to put the heads of dead British soldiers on stamps. Now Steve McQueen has made a stunning film about the harrowing lead-up to the starving to death of IRA prisoner Bobby Sands, including a scene that moved him to tears on the set. By Sean O'Hagan"

Poster Galery: Andy Warhol Meets the Monsters

Dazed Digital: "Pop and optical art, an explosion of colours, psychedelic and futuristic interior designs a la Joe Colombo and costumes inspired by the work of iconic ‘60s designers: these are just some of the ingredients Italian director and master of horror Mario Bava threw into his magic cauldron when he turned into a film “Diabolik”, an iconic comic series written by sisters Angela and Luciana Giussani. Bava’s film turned 40 this year, but it’s still considered a cult movie. (...) While the Diabolik character represented a constant inspiration for some fashion designers - Dolce & Gabbana’s Autumn/Winter 2008-09 menswear collection features tight shirts and sweatshirts inspired by Diabolik’s style, while the Italian design duo often claimed Brazilian model Giselle represents for them an incarnation of sensual Eva Kant - the film has kept on inspiring a new generation of directors."

From an interesting interview with Diabolik Überfan and London-based director Ben Robinson on Dazed Digital

The Trailer

Or is it Scarecrow in "Batman returns, strikes back and comes back from the dead"....

Kudos to Fangirlmag. Follow the white rabbit to find out where it came from.

10zenmonkeys.com: A James Bond-style theme song rolls behind the opening credits of a new film featuring Adam West as a ruthless criminal mastermind. But its star is Sexina, part Britney Spears, part private-investigator-secretly-fighting corruption-in-the-music-industry.

79-year-old West plays a ruthless music industry overlord bent on destroying the sexy pop sensation with an evil boy band composed entirely of cuddly robots. The ultimate irony? The movie's theme is sung by Davy Jones, whose vocals for The Monkees in the 1960s make him one of the original boy band singers. "

Yeah, I waited 22 years for this: Lost “Horrors” Ending Found on YouTube

Robby the robot returns! Retro goes big budget! Big budget to make things look cheap!

Hey, that's my birthday!

Big collection over here - Jede Menge Dokumentarfilme in Deutsch und Englisch

Official Homepage - Trailer

My favourite art magazine "Bidoun" has a phantastic story: "A vanload of city kids takes the wrong turn in the wrong jungle. Witchcraft ensues. Of course, they pass a river polluted by industrial waste. Of course, there is a tribe of cannibalistic zombies who live on its banks, who take a culinary interest in one of our city slickers. And of course, there is a serial killer in a burqa who greets the rest of them with a whirling, spike-studded flail. And there's a midget. This, in brief, is Zibahkhana, Pakistan's first high-definition video film, and the brain—hungry lovechild (or love-hungry brainchild?) of Omar Ali Khan, a forty-five-year-old first-time director and schlock-horror cineaste whose kingdom was built on ice cream." Read on...

Here it is again! For those who still deny that the first man on the moon was a black man! Louie was a blaxtronaut!

I must have seen this at least 20 times, but this remains to be the funniest video on the internet ever.

Pixar wants to be taken serious now, ha, ha.

Rirkrit Tiravanija, Chew the Fat, 2008, 120 minutes. Still from a color film in digital video. From left: Carsten Höller, Rirkrit Tiravanija.

I worked on this film as a consultant/editor.

artforum.com / film thinks we did a good job, Kollegas!

"MYSTERY, OF COURSE, is in the not-seen, in the unquantifiable. This not-visible suffuses the archaeology of knowledge, bolstering it like a flange supporting the weight of the seen. Evidence of the ineffable in the particular form of fellow feeling is everywhere present in the curiosity and affection that Rirkrit Tiravanija displays in Chew the Fat (2008), his loosely constructed film memoir of the working lives of his close circle of friends—a group of artists who rose to critical attention in the 1990s: Angela Bulloch, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Jorge Pardo, Philippe Parreno, Elizabeth Peyton, and Andrea Zittel. (In homage to Maurizio Cattelan’s signature tricksterism, he’s discussed by numerous others but never appears on-screen.) But memoir is likely too specific a genre to speak of in this instance. Part road trip, part diary of the pieces of their days, the film is improvisational and handheld, both in the camerawork and in the sense of an almost trembling tenderness on view as Tiravanija makes his rounds of their studios, kitchens, backyards, and habitual cafés.

Tiravanija’s docu-diary is much in keeping with his aesthetic, which seeks chance and dynamism in the milieu and invests in the frame rather than in the control of the active core of his projects. Here he is the interviewer and interlocutor, seen barely but heard as an amiable and not terribly pressing questioner, asking his friends where they went to school and why they became artists, and reminiscing. He is generally content with the minimal resources of cinema verité; what we learn about his friends we learn through the Flaubertian tendencies of his lens, with its slow capture of drifting minutiae that pool to form an image of time, place, and personality. The oddness of Höller’s fascination with birds and their food, the mixture of levity and gravity in Huyghe’s sense of himself and his practice, the characteristic incisiveness of Gillick’s intelligence caught in playful sentences, and Gonzalez-Foerster’s outsiderish will toward philosophical isolation give us small glimmers of their lives and personhoods, of their assumption by now of success and material ease, though not a great deal is gathered in any rigorous way about the intellectual foundations or feeling obsessions that have compelled them to make the work they do or to form the congress of filiations they have.

That, I suppose, is still left in part to Nicolas Bourriaud’s Relational Aesthetics, which first rounded them up as sharing elective affinities in their cultural production. And though Gillick has argued vociferously in print against this theorized ghetto, there is nothing said in Chew the Fat’s two-hour running time to countermand or render problematic that discussion. Perhaps Nancy Spector’s exhibition catalogue for “theanyspacewhatever” will offer the retrospective gaze and analytic discipline required to balance Bourriaud’s pioneering claims. And while the desire to learn more about their net of commonalities and differences is piqued by the film, Tiravanija is still in the midst of finishing full-length films on each of the artists, produced over three years of shooting, which presumably will have the depth impossible to attain here. In any case, polemics and discursive argument have rarely been Tiravanija’s method. He often prefers, in a John Cage–like way, to be a knowing innocent. In fact, in this record of unrehearsed moments, what he is after is the luminous harvest of mystery, with its aperçus shuffling softly into view and disappearing. But to slightly rephrase Adorno, innocence and sophistication are concepts so endlessly intertwined that no good can come of playing one off against the other. That could be said of all of Tiravanija’s work, and it is surely the case here. Bring popcorn, and a joint.

— Steven Henry Madoff

Rirkrit Tiravanija's Chew the Fat screens on Sundays at 1 and 3 PM and on Mondays at 2 and 3:30 PM as part of the exhibition "theanyspacewhatever," on view through January 7 at the Solomon R. Guggenheim Museum in New York. "

Art Forum: German filmmaker Alexander Kluge has been at work filming Marx’s magnum opus Das Kapital (1867). The Frankfurter Allgemeine Zeitung’s Stefan Grissemann spoke with Kluge about his massive project—Nachrichten aus der ideologischen Antike (News from the Ideological Antiquity)—which will appear mid-November with the publishing house Suhrkamp as a DVD box with ten hours of viewing. Inspired by Sergei Eisenstein’s own unrealized plans to transform Marx’s main work into film, Kluge referenced Eisenstein’s voluminous notes and sketches to realize his own project, which also derives from notes, clippings, and interviews with writers Hans Magnus Enzensberger and Dietmar Dath, actress Sophie Rois, and philosopher Peter Sloterdijk, among others. “The revolution may be dead,” writes Grissemann. “As a film idea, it remains alluring. In Marx, we have a scout who can lead us through a highly complex world and back into antiquity,” said Kluge. To capture the destructive power of money, the filmmaker focuses on the Wall Street crash of 1929. “It’s not just about providing an artistic answer to this crisis but also a literary one,” Kluge told the FAZ.

Video over here!

DreadfulRay: "Two slightly different versions of the film "Yellow Submarine" exist. There's a British one and an American one. The British version had "Hey Bulldog" and the US one had this footage instead. Nowadays the DVDs and Tapes and everything else are just the British version and the US one isn't made anymore. That's what makes this footage "Deleted and/or alternate"."