This review is the second to last in the Hughes Reviews series. So far this has been the most difficult movie to review, which is odd because I've seen this film hundreds of times. I can quote it verbatim, but I guess I never really thought critically about it. After doing these reviews, I think I have a better understanding and appreciation of John Hughes body of work. I can now definitely see developing themes which culminate in Ferris Bueller's Day Off, which is a brilliant way to cap the teen films. Next month we will be finishing this series with National Lampoon's Vacation.

Using his vast knowledge of obscure cinema, Tarantino managed to introduce us all to the exploitation films he grew up with. And to one degree or another we've seen him use these aesthetics in pretty much all of his films. However, Kill Bill was the first time I'd ever heard the word "grindhouse" mentioned. I think it's fair to say that most people in the current 30 and under age group hadn't heard of grindhouse prior to that film.

It seems as though I've been asked to be a featured player at the Lyric for their Bylynsgate Ball series. So you can catch my Animated Monologues at every Bylynsgate Ball, from now until they tell me to stop (YAY!). So this Thursday (Tomorrow), you can catch one of my Ani-logues at The Lyric Cinema Cafe . This is a bi-weekly evening of local short films, drinks, music and art. It goes without saying that I would love it if you all would come. The festivities start at 5:30, but the films don't begin until 6:30.

If you're a fan of classic cinema, in particular the catalogue of Alfred Hitchcock, you will enjoy this short film. The conceit of this project is that in 2007, filmmaker Martin Scorsese has discovered three pages of of an un-flimed Alfred Hitchcock script titled The Key to Reserva . In the interest of film preservation and experimentation, Scorsese has elected to film these pages as he believed Hitchcock would have. This story is of course untrue. There are no such pages and in fact, this entire short film is an elaborate commercial that hawks wine.

This review is the third to last review in my John Hughes series. What I'll review after that, I have no idea, but I hope you'll continue to check it out. This review was supposed to be posted this past Monday, but these past few weeks have been non stop action. Even now as I write this the machinations of fate still have me pinned between it's rusty cogs. My goal is not to get squished-AND still give you guys entertaining content. I think we're going to see some schedule changes here soon, but I'll keep you all updated.

In honor of the upcoming film Rise of the Planet of the Apes, I wanted to do a little article. At some point, I would love to do a separate review of each of the films, but consider this an oddity, an appetizer and a primer for the upcoming film.

I was asked to create a name or title that the lyric could market the Animated Monologues under. Here are the two ideas in logo form. If your looking for the Animated Monologues (Ani-Logues) online or on youtube, the name will likely remain the same (maybe...) but for now, this is just for the screening at The Lyric (Ani-Logues or Animated monologues may sound a tad clunky on a poster perhaps) Tell me what you think.

As I write this, I'm coming off of a rocket-sled Hell-ride of a week. Having begun the week, with a 24 hour flu bug and ending it with the last stages of a head/chest cold.

Between the wonderful screening at the Lyric, my day job (yes, I still have one) and The Denver Comicfest, I'm friggin' whipped. But within these last two weeks, I've had more exciting professional opportunities arise and for that, I couldn't be more grateful. I will certainly be more willing to talk about these projects as they unfold, but for now, I don't want to jinx it.

One of the most successful performers in the 20th century has got to be Madonna. She has mastered the task of artistic redefinition and has maintained a diverse career that includes acting and children's books. Madonna is known for her theatrical stage performances and music videos that use religious iconography mixed with strong sexuality and in the 80s found herself likened to actress Marylin Monroe.