codenameddork:

I giggled.

devirisi:

Final Fantasy X-2 Disney Princesses by xsKiRtZx

xombiedirge:

8-Bit Movie Posters by Eric Palmer

alanjonesxxxv:

I got my boss’ Macbook fixed at the Eaton Centre today and I had some time to spare, so I browsed around Chapters for a bit and found The Best American Noir of the Century, a mammoth collection of “noir” stories (some of which I suspect will be closer to “hard-boiled detective fiction” than noir - hence the quotation marks) compiled by James Ellroy and Otto Penzler. Being a bit of a noir fiend (at least as far as cinema is concerned), I purchased it on a whim and look forward to cruising through stories by Jim Thompson, James M. Cain, Mickey Spillane, and Elmore Leonard, among others.

Penzler’s foreword to the text, which is presumably meant for a lay audience, is at best misleading and at worst factually incorrect. Not only does he claim noir is a genre without a hint of complication (the discussion of whether noir is a genre or a “cycle” of films is controversial and full of heated opinions), he also claims that Fritz Lang’s M, Tod Browning’s Freaks, John Frankenheimer’s The Manchurian Candidate, and Martin Scorsese’s Taxi Driver are all noir, which would give the term noir a very wide umbrella. These are not indefensible positions, but they’re far from being universal. More oddly, Penzler then goes on to suggest Sam Spade is not a noir character, which would mean John Huston’s The Maltese Falcon is not a noir film, and with all due respect to Penzler, The Maltese Falcon is much more of a noir than The Manchurian Fucking Candidate.

James Ellroy’s Introduction, on the other, is quite entertaining (and pictured above). It appeals to the pervert in all of us. My favourite sentence:

Noir will never die - it’s too dementedly funny not to flourish in the heads of hip writers who wish they could time-trip to 1948 and live postwar malaise and psychoses. 

What She Offered by Thomas Cook, is by far my favorite.