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The Hooksexup Insider
A daily pick of what's new and hot at Hooksexup.
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Your daily cup of WTF?
Hooksexup@SXSW 2006.
Blogging the Roman Orgy of Indie-music Festivals.
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The Daily Siege
An intimate and provocative look at Siege's life, work and loves.
Kate & Camilla
two best friends pursue business and pleasure in NYC.
Naughty James
The lustful, frantic diary of a young London photographer.
The Hooksexup Blog-a-log: kid_play
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A bundle of sass who's trying to stop the same mistakes.
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Our newest Blog-a-logger.
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Gay man in the Big Apple, full of apt metaphors and dry wit.
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Naughty and philosophical dispatches from the life of a writer-comedian who loves bathtubs and hates wearing underpants.
The Hooksexup Video Blog
Deep, deep inside the world of online video.
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A Demi in search of her Ashton.
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Hooksexup @ Cannes Film Festival
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The Hooksexup Film Blog
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A fashionable L.A. photo editor exploring all manner of hyper-sexual girls down south.
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Almost everything you want.
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A sassy Canadian who will school you at Tetris.
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Houston neighbors pull back the curtains and expose each other's lives.
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The name says it all.
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A former Mormon goes wild, and shoots nudes, in San Francisco.
chase
The creator of Supercult.com poses his pretty posse.
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Hooksexup's TV blog.
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A California boy capturing beach parties, sunsets and plenty of skin.
61 Frames Per Second
Smarter gaming.
The Hooksexup Blog-a-log: Charlotte_Web
A Demi in search of her Ashton.
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A Manhattan pip in search of his pipette.
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The Screengrab

  • No, But I've Read the Movie: THE TALENTED MR. RIPLEY

    Like a handful of the better noir and pulp writers, Patricia Highsmith has undergone a bit of a positive critical reappraisal of late, although one has to wonder if critics and casual fans are more interested in her actual writing than her bisexuality, alcoholism and often-controversial personal life.  Whatever the case, the rediscovery of Highsmith's books in recent years was followed by a spate of interest in adapting her works for film.  Naturally, the most attention was focused on the so-called "Ripliad", her series of novels featuring the amoral, cynical trickster and killer Tom Ripley; while 2002's Ripley's Game, bouyed by a tremendous performance in the lead role by John Malkovich, was the better film, 1999's The Talented Mr. Ripley got far more attention and made far more money.  This was thanks largely to a successful marketing campaign, a coincidental tapping of the zeitgeist, and the fact that several of its stars were at their peak of popularity.  There have been other Ripleys (Highsmith herself loved Alain Delon in Rene Clement's Purple Noon) and other filmed versions of Ripliad novels (Wim Wenders made a memorable, if confused, version of Ripley's Game as The American Friend in 1977), but none has stayed in the public consciousness as the one that teamed the recently deceased Anthony Minghella with Matt Damon.

    In most ways, The Talented Mr. Ripley is the best of the Ripley novels, and one of Patricia Highsmith's best novels overall.  It was the purest expression of her fascination with anti-heroic figures who carried around a silent delight in their defiance of law and propriety; it also featured some of her most coolly murderous prose, the quality of her writing that critics most admire.  Her deliberate, incisive writing seemed almost subversive at times, so plainly and nastily could she capture those who circumvented decent society.  But it was not without its flaws, most noticably her writing of female characters:  Highsmith seemed either incapable of writing female characters as deep and dark as her male characters, or uninterested in doing so.  Anthony Minghella's filmed version, with a solid cast and a big budget, had a chance to to capture all the strengths of the book while addressing its weaknesses.

    WHAT IT HAD: Minghella was riding a peak of success at the time The Talented Mr. Ripley was filmed, having won widespread popular and critical acclaim with his previous movie, The English Patient.  His lead actors were equally hot:  Matt Damon was as popular as he'd ever be, as was co-star Gwyneth Paltrow, and Jude Law was enjoying some level of success in the U.S. for the first time.  Cate Blanchett scored a key role that helped launch her big-screen career, and Minghella staffed the picture with solid character actors like Philip Seymour Hoffman and Philip Baker Hall in supporting roles.  It's also a gorgeous film, with breathtaking locations, beautiful cinematography (by John Seale) and stellar set design and period costumes.  Whatever its flaws, Ripley takes no shorts with its look and feel.

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  • Anthony Minghella: Samuel Beckett's "Play"

    The death of Anthony Minghella yesterday cut short the career of a gifted filmmaker who may have only begun to discover his own potential. Minghella's first movie, the 1991 Truly, Madly, Deeply, was small scale but struck deep in its emotional impact; a deserving cult hit, one could barely guess from its intimate charms that Minghella would, by the time of The English Patient, begin to demonstrate a rare contemporary mastery of epic filmmaking, bringing rich textures to the screen while skillfully deploying vast crews and across sprawling landscapes. One of Minghella's smallest and least-known projects is his two-aprt, fifteen-minute version of Samuel Beckett's Play (2000), Mighella's contribution to the multi-director, comprehensive "Beckett on Film": project. This bizarre, striking realization of the playwright's image-play about a man, his wife, and his mistress trapped together for eternity also serves as an intriguing footnote to the director's career for reuniting him with the stars of his first film, Juliet Stevenson and Alan Rickman, and the female lead of his biggest hit, Kristen-Scott Thomas.

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  • Anthony Minghella, 1954 - 2008

    The Screengrab's Paul Clark is away from a workable computer, but asked me to post this tribute to Anthony Minghella:

    MSN is reporting that Oscar-winning filmmaker Anthony Minghella passed away last night from a brain hemorrhage. Minghella, whose next film, the HBO/BBC production No. 1 Ladies' Detective Agency, is set to premiere next month in the UK, was fifty-four years old.

    To many moviegoers, Minghella was best known as the director of prestige pictures such as The English Patient, The Talented Mr. Ripley, and Cold Mountain. In fact, so associated was he with high-toned adaptations that he recently appeared as the moderator of a literary program in last year's Atonement. But his best work was not so easily pigeonholed.

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  • Breaking: Anthony Minghella Dead at 54

    This just in: Anthony Minghella, director of The English Patient, The Talented Mr. Ripley and Cold Mountain, is dead at fifty-four.

     

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  • And the ReOscar Goes to…Peter Fonda?

    While we’ve been busy with our spreadsheets and slide rules, trying to figure who the big winners will be come Sunday night, Time’s Richard Corliss is just getting around to giving his picks for the 1998 Oscars. No, Corliss hasn’t slipped through some sort of wormhole in the space-time continuum. Instead he’s presenting Time’s First Annual Re-Oscars.

    The premise is that the Academy may have occasionally made a mistake or two over the years, a controversial notion we’re nonetheless prepared to embrace. “What we're offering is a second chance at the Academy Awards handed out on March 23, 1998,” Corliss writes. “To a lot of people, the record 11 Oscars that James Cameron's Titanic lapped up that night were suitable acknowledgment of a much-loved movie that quickly became the top box-office attraction in film history. We're asking how Titanic, which was named the Best Picture of 1997, and the performances that won in the four actor categories have stood the test of time. And we're answering: Eh, not so well.”

    Read More...



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