It's also possible he was credited for part 1 back when it was part 1 of 2, and so blah blah contractcakes, his name's in the list whether he's in the movie or not.

In the credits, which I have open in another window, he's credited as Necromancer. It's in between Goblin Scribe and Dwarf Miner in the bottom right hand side of the credits screen. You can see it at 2:42:21 on the DVD.

I'm on the fence about getting the theatrical release versus waiting for the extended edition. I did the latter for LotR, but with The Hobbit I already felt like the theatrical release was a little too long, so I'm not sure that more of it is really the best idea.

We watched Les Miserables last night. Admittedly it wasn't the best viewing experience ever, as Mal whined pretty much throughout the whole thing (hey, no one forced him to watch it), but I was decidedly meh.

It was neat to hear different actors' interpretations of the music, and there was some fun casting (although not Russell Crowe, dude, horribly miscast), but ultimately I think I agree with The Hulk - Get the camera out of their noses!

I also watched Room 237 Friday night. It's a pretty good documentary, which subtly slides its own thesis in while purporting to report other people's interpretations of The Shining. It also changed my mind a little bit about the whole cinematic kabbalah exercise of Shining interpretation, and confirmed my belief that Kubrick was a mad genius.

Raq,

I saw Room 237 last night with Beau and Beau HATED the film. Just hated it. I think he felt the movie actually ruined his night. I did not think it was a good movie really - I thought it was entertaining to have these crackpot "film enthusiasts" talk about their pet theories of the film, but a lot of the theories were decontextualized. I don't think a movie can have any meaning you impute on it. Random images you see strewn throughout the movie, including mis-seeing a ski poster as a minotaur, does not mean a filmmaker is interested in minotaurs.

I did laugh out loud until I was disabled at one part of the movie where the enthusiasts are discussing (at length) the role of an unspeaking part in the movie. OMG, that brought all the absurdity together and just made me catch my breath.

It is unfortunate too that all this time was spent on the unspeaking character and no time spent discussing Scatman Crothers' role. Are you telling me that of all the crackpots filmmaker found, he couldn't find one to discuss magical negro or John Henry?

The one section of the film I did like was when one of the commenters talked about how Kubrick planned the pathway of the boy in the big wheel. That actually felt informative.

Seven Psychopaths: does Martin McDonagh like to see Colin Farrel suicidal? Anyways, not what I was expecting based on the trailer, but still, I dunno, emotional with a toe-hold in reality. Sam Rockwell is slowly winning me over. Now I'm hearing a bit of Owen Wilson and seeing a dorky Tom Cruise.

I did not know my old secret boyfriend Rick Yune is the villain in Olympus Has Fallen! Of course, I learned that in an article about people being fucking racist about it, and the movie still looks terrible, so I guess I won't see it, but still. Good for him.

I saw Olympus Has Fallen this weekend and it was, in fact, quite terrible. I wanted to jump in and kill the president myself. Bad, bad horrible movie. We got kicked out of the theater with less than 10 minutes to go in the film because somebody thought it would be funny to pull the fire alarm and I really could've just gone home at that moment, but my companions wanted to stay, so we stayed and sat through the end. Gerard Butler and Aaron whatshisface share one of the worst, wanna be pithy last lines on the way out of the trashed WH in memory. They guy who played the villain was actually a joy. Wish he'd killed them all, including Angela Basset in her excruciatingly bad Florence from The Jefferson's wig. So, so bad.

le nub, I hear you. I thought the documentary's thesis was "confirmation bias is real, yo!" Also "the human brain is amazing at finding patterns and trying to make meaning." I thought they did a nice subtle job of showing how each person saw in the movie what they wanted to see: the Holocaust historian saw a film about the Holocaust; the Apollo moon landing "truther" saw an admission that Kubrick filmed the moon landings.

I don't really want to know what the guy who saw the in-box as an erection brought to the movie.

The level of cinematic kabbalah the documentary highlighted did make me think a lot about the lengths people will go to in order to find symbols and meaning and patterns in something.

The level of cinematic kabbalah the documentary highlighted did make me think a lot about the lengths people will go to in order to find symbols and meaning and patterns in something.

From a critical standpoint, you'd just say that The Shining like Shakespeare, or "The Wasteland" or Gravity's Rainbow is a rich text. It supports multiple meanings because it's very dense and allusive, detailed and layered.

Certainly it's an aspect of the pattern-seeing aspect of the human brain. But it's also what makes art artful.