larsvonbeer:

passionofthechris:

this is just tons of scully answering the phone and i could listen to it forever

i knew i kept the internet for some good reason

Antichrist (2009)

(via lobstrocities)

wandrlust:

Japanese Poster for Repulsion (Roman Polanski, 1965)

(via lobstrocities)

davidfincher:

Opening Sequence for Killing Them Softly

A Good Day to Die Hard to be Rated R | Coming Soon ›

niknak79:

Giraffic Park

(via moviemeatloaf)

monsterman:

Escape From New York (1981)

(via br0manpolanski)

swintons : artilleur:

“Blue Nude,” Pablo Picasso (1902)

Possession, Andrzej Zulalwski (1981)

(via mizoguchi)

Go on and laugh your Benetton, Kumbaya, Kashi, quinoa laugh, but it’s true: The most progressive force in Hollywood today is the ‘Fast and Furious’ movies. They’re loud, ludicrous, and visually incoherent. They’re also the last bunch of movies you’d expect to see in the same sentence as ‘incredibly important.’ But they are — if only because they feature race as a fact of life as opposed to a social problem or an occasion for self-congratulation. (And this doesn’t even account for the gay tension between the male leads, and the occasional crypto-lesbian make-out.) The fifth installment, ‘Fast Five,’ comes out Friday, and unlike most movies that feature actors of different races, the mixing is neither superficial nor topical. It has been increasingly thorough as the series goes on—and mostly unacknowledged. That this should seem so strange, so rare, merely underscores how far Hollywood has drifted from the rest of culture.

movies on youtube

masculin, feminin in its entirety with subtitles ›

wandrlust:

German Poster for Every Thing You Always Wanted to Know About Sex, But Were Afraid to Ask (Woody Allen, 1972)

(via bbook)

shrapnel:

The synopsis from the back of a DVD bootleg of The Avengers

(via oceanaroll)