Glóin the Dark

Simpson Symphony No. 9 Unfortunately the individual CD tracks have been uploaded as separate videos, so there are lots of annoying breaks.

Sure they did, but that doesn't make it unreasonable to object to those things. Phantom Thread was projected in the wrong aspect ratio when I first saw it, and I don't think I was being "precious" when I let the staff know about the problem (and accepted their offer of a refund and a new ticket). The Guardian article seems to imply that some UK cinemas were inserting intermissions in Oppenheimer. In that case, "vandalism" is certainly not too strong a word, especially if the break was placed anywhere within the middle hour.

The break in The Fellowship of the Ring is at the perfect place. I don't like the other two at all. I think The Two Towers should have an uequal split with the smaller segment (the transitional phase which ends at the closure of the Black Gate) followed by the larger one (which has the feel of a disaster movie in its own right). The Return of the King should be a three-parter! I could have used an intermission in Killers of the Flower Moon, not least because my leg started to ache half way through, but if the film-maker hasn't approved one then he would be quite entitled to object to cinemas doing it of their own accord; that's just vandalism.

Weisz was a producer of the film, so I suppose the question is why they cast McAdams...and I suppose the answer involves her being pretty famous. Nivola was unrecognisable with that beard...

The “orthodox” in “Orthodox Judaism” doesn’t refer to Orthodox Christianity. I assumed they were supposed to be roughly the same age (though, admittedly, the age difference probably didn’t occur to me).

I've been listening to Brian Ferneyhough's solo piano piece Lemma-Icon-Epigram a lot for the past couple of weeks. One of the most intensely rewarding musical experiences comes when an initially incomprehensible work begins to make sense upon repeated hearings, and this apparently cacaphonic torrent of meaningless notes has been completely transformed in my perception, with tantalising harmonic and rhythmic patterns emerging. I wish Ferneyhough had written more piano music; I'm not sure why, but seem to find that easier to grapple with.

On the downside, I thought it really played fast and loose with the plot (in terms of believability), and the dialogue could sometimes have done with a bit more subtlety.

I find performances of repugnant characters more interesting to watch, generally speaking.

I had no choice - I had to run like the hammers to catch my train. A bit like the end of the film.

He's always talking about how The Red Shoes was one of his early favourites. I saw it in the cinema in 2009 too. (Pretty small auditorium, but beggars can't be choosers...)

Maybe I'll turn against him too if I ever see any of those films...

I saw this and found it very enjoyable. Somewhat more lightweight than the trailer suggests - there are several high-concept ideas on the table simultaneously and they don't seem to be explored beyond a superficial level. I'd like to watch it again some time, nonetheless.

I kind of wish he didn't! Gervais's trajectory has been towards excessive soppiness for me, starting with the later half of Extras. The Office is imbued with all the emotion that it needs, and it's all the more potent for not wearing it on its sleeve.

I'm with the others on that one. Granted, I'd say his 21st Century output is merely excellent, on average, rather than great. But what he did in the 70s and 80s earns him a place alongside the likes of Kubrick, Welles, Renoir and Murnau.

Two stars? Ouch! I think that's the first negative response to the film that I've seen so far. Can't wait to see it...

Come over to our hill!

Not remotely! I’ll be on the opposite hill yelling that The Office is hilarious and masterful throughout. The Office: An American Workplace is like a kids’ version of the concept, with the usual draining of subtlety that the US networks seem to insist upon in their comedy translations (similar to the dumbing down that’s evident in the comparison between The Thick of It and Veep).

There are explicit choral references to a deity in his Symphony No. 8 (which begins and ends with the exhortation "Veni creator spiritus!", and in major chords too!), and also in No. 2.

Michael Finnissy Piano Concerto No. 4

Ha, I knew that would be your favourite. My boring choice is the one where he plays the Duck of Death.

I didn’t realise that Jared Harris was Richard Harris’s son. I see the resemblance now…

Which podcast was it, by the way?

Hoping to see it shortly.

You've probably already gathered that Enys Men is a very unusual film - not at all surprising that it isn't popular with general audiences. It has a non-narrative style comparable to the most abstract or surrealist films of, say, Nicolas Roeg or Alain Resnais.

Me.