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Agreed. Michael Keaton was the best part of that movie.

Hey Joe, Tucker used to read the Economist. Just saying.

I don't know if I'm alone in this, but to me Hanna felt less Lynchian and more like Alejandro Jodorowsky was given a brief synopsis of Kick-Ass and asked to write a Hit Girl spinoff.

Ha, Jodorowsky would have made MUCH more of the psychosexual implications at play in the familial setup...

(I loved the Economist posts Tucker used to do...)

I just watched FOUR LIONS last night. I speak the arcane English dialect of that region (Derbyshire) fluently and you didn't miss anything; Omar's (and his family's!?!) just seeing martyrdom as a reasonable life-choice is still the oddest thing in the film. A film which, as you, Matthew J Brady, point out, is well worth watching and enjoying despite this. It made me laugh like an idiot and then it made me think about some stuff I maybe should have thought about before now. Cracking film.

(Say, I have a question: How does the UK look to US citizens when you see something like this, DEAD MAN'S SHOES or RED RIDING (i.e. a portrayal that isn't totally a work of sterile fantasy like NOTTING HILL)? Does it look like a soulless sh*t-tip, endearingly rustic, Mars or what? Just wondering.)

Jog made HANNA sound interesting. I hope that was the idea.

Thanks to all.

Ugh, hopefully you weren't interested in Saoirse Ronan holding down multiple husbands, because I meant "polyamorous" instead of "polyandrous"...

That totally gave me pause when reading your review (I saw it this past weekend), but I figured you were just smarter than I was.

Alas, Jog, that was EXACTLY what I was interested in! Nah, I didn't catch your mis-type, I sure as heck ain't as smart as you, sir. HANNA just sounds a freaky mess is all. Like someone accidently made a throwback to that special kind of wrongness I associate with '70s Oz films(PATRICK or HARLEQUIN perhaps). Um, I'd just like to see what I make of it. I was intrigued. Yes, intrigued.

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