HomeSav Launch Party

Here is a recap (in pictures) of my Thursday night at the HomeSav Launch party, it was a great night!

 artist Jessica Gorlicky

me and the fab Elaisha Green of YYZ

swag bag

Winter forest wallpaper

Widescreen (16:10): 2560x1600 | 1920×1200 | 1680×1050 | 1440×900 | 1280×800

Fullscreen (4:3): 1600×1200 | 1400×1050 | 1280×960 | 1024×768

Fullscreen (5:4): 1280x1024 HDTV (16:9): 1080p | 1600x900 | 1366x768 | 720p

Netbook and Mobile: 1024x1024 iPad 2 | 640x960 iPhone4 | 1024x600 | 800x480 | 960x854 | 640x480

The Midas Touch

via 

Download Summer wallpaper

Wide 16:10

960x600 1152x720 1280x800 1440x900 1680x1050 1920x1200 2560x1600 3840x2400 

artsy

via 

Interesting thought...

via pinterest

Cute Wallpapers

Love the beautiful location of your Desktop
By Ivan Tokic

The background of your computer a lot to say about you. You can change the setting your mood or lifestyle to fit Love Wallpapers is one of the most common types of background that many people go for the period Love Wallpapers for desktops, a whole series of different images and slogans on the theme of love .. Love can make the heart of a computer background looks funky and exciting, full of color that makes it a smile to see. Love is the position that the people who need to give their love, because love hearts and cute cartoon characters have a pleasant factor, the same feeling used.

Map to the place of loving words, that you can feel someone said. You can use your computer to connect and remember your loved one every time you see the quote. The quotation may be that the beautiful poem or a famous movie or just a few words what a lot of sense for you. Love with a background for your computer will make you feel happy and glad to see your spirits, whatever the weather. Furthermore, it seems like a romantic place where you love, if love wallpapers for your desktop, you will fill with joy and happiness to you at that moment, what a beautiful memory.

Cute Wallpapers

Cute Wallpapers

Cute Wallpapers

You can get friends or relatives who Wallpapers love to send to love feel, selecting a background suitable for them and how you feel towards them is a good way to get your friend or not to share, can then remember that special person your computer. It's like a gift sent to your computer and give that personal connections. You can even customize your wallpapers love the words or images that you create or insert a special password in the background to make love Wallpapers, even more unique set should contain.

I love the romantic feel to the place of your desktop and there is no better time for a Lovey Dovey posters as Valentine's Day, the most romantic time of year to have. If a rose, a mass, a heart or a small cute teddy bear, what do you do your heart should beat the endless possibilities to take when it comes to images of love, Cupid with his bow and arrow You have the perfect love of the heart is surrounded by Kisses and words I love you no matter what, love wallpapers are a great way for people to know how you feel and how happy you are. So spread the love today and get your love for the location of your computer and select a design that suits you much choice, you can be sure that you see, that grabs your eye and maybe someone else.

Movie Wallpapers

Top Wallpapers
By Vlad a Stoiu

Many of us know how important it is to our computer in our lives and we care so much about it, frequently changes, modernization of its software components, as well as care of the equipment components. This is why most of us are very easy to tired to see the same old picture of our view of the background and we try to change it regularly. Because we use our computer almost every day of our lives, it's really hard to get bored seeing the same background and our desktop: To prevent such a situation, we usually start Surfing the Internet and look for the best Wallpapers Of course, not all of us want all time high Wallpapers our desktops. We can go as well as the demand is low Wallpapers search, or even to our own. But it did not so often as the first one done.

Usually websites offering desktop Wallpapers, whether free or not, base their Wallpapers divided into categories to users' queries easier. And these places have a special category in a more dynamic one, the one category best wallpapers, you will find wallpapers and other people liked to use: If you do not have a preference for certain, as far as the posters should have the main theme of such a process should be very useful: Wallpapers are usually on the upper mixed so you images of animals or landscapes can be found, but in groups, or movie stars.

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Movie Wallpapers

Movie Wallpapers

Movie Wallpapers

But if you are looking for the best wallpapers, regardless of what they represent, and, for example, would like a desktop wallpaper of your favorite group or Entertainment categories like music to have, you will probably find you need more also have some websites provide this kind of services in all major subcategories Wallpapers category. So, all your problems seem to have their solution: If you have a background with one of your favorite movie star, a good way to start the search by looking first at the top of Wallpapers of movie stars and see the menus that unlike most in a week. But you can also search for the highest Wallpapers in categories related to nature, animals, and between the drawings of flowers, gardens, landscapes, animals, birds, movies, TV shows, animation or any other possible nomination a few The main holiday is approaching, many of us love the desktop background to change, and make it easier and is committed to the event: So, you can always search for the best wallpapers with Christmas, Easter, Valentine's Day, Mother's Day . Halloween and other holidays, special events or occasions.

Do you need to do is have a clear idea of ​​what you are looking for what you want on your desktop background, or they are randomly selected as the best wallpapers for the year.

God Wallpaper

Free Wallpapers for your car clutch Interiors
By Mostafizur Rahman

Backgrounds in different shapes and designs can be animated, cartoons, celebrities, landscape and space pictures. Wallpapers can also be used as bookmarks and are mainly in computers and mobile phones. No value is reduced by Free Wallpapers for download and you can get if you want: Wallpapers are organized into logical categories and a professional nature beautiful sight to the movies or photos of your favorite images Free Wallpapers are also used for most companies promote and market the product in offices there or sell. The Wall newspapers, which are supposed to be real, professional, and a fantastic game as a form of propaganda.

Wallpapers, their most popular show by actors in movies and actors, technology, and enjoy the beauty of nature with breath taking landscapes, desktop themes and software in the sand. You can download as many types of free wallpapers, free all over the world and how to choose the most favorite Wallpapers. When loading a few places will give you bonus games, video clips, photos or tone selection. It looks great and Wallpapers for your desktop more attractive and also the emphasis on human nature and animals. If you have a perfect baby, then go online for free.

God Wallpaper

God Wallpaper

God Wallpaper

Some wallpapers for free, and clean spyware and adware. Photos is fast, easy and registration is required to download, so the involvement of young people, most of them are on their cellphones and computers. Free high quality images is also easy to navigate: Wallpapers can be your own images and can also advise on a web site with your permission: There is no obligation to do all the free posters to draw. Free Wallpapers for Web Toolbars, desktop icons and objectives, desktop themes and more computer screens.

You can also download the Bible passages, and Wallpapers of the animation or written words used to encourage people to live in love and help each other spread the word of God: The wallpapers used in jewelry, cars, music, A photograph of the first page. See free original desktop wallpapers to decorate, as well as free images directly from their creator is the best thing, so a very good background on the screen. Wallpapers are free and are best found in supermarkets everywhere you go even a large part of companies to climb higher due to the use of their articles, Wallpapers ads.

Special to Tativille: "Sunset cul-de-sac? (The Artist)," by Jeremi Szaniawski

In 1927, Hollywood silent film star George Valentin (Jean Dujardin) unwittingly helps launch the career of smitten—and ambitious—dancer and starlet Peppy Miller (Bérénice Bejo). Little does Valentin know that the advent of sound film will soon render him obsolete, while Miller will become the new darling of his former studio. Valentin refuses to embrace the talkies, is driven to bankruptcy by the 1929 crash, and fails to conquer the box office with his final, self-financed silent film. Even so, his fall is halted by Miller’s financial support and care. But can the actor, given his resistance to new technology, ever make a comeback?

Grounded both in the tradition of melodramatic narratives and actual cinema history (the fall of its hero inspired by the similar fates of silent stars John Gilbert or Douglas Fairbanks, Jr.), set in an era of economic depression and technological shift in the film industry, The Artist (2011) could scarcely have been made at a more sadly appropriate moment. Therein however lies the suspicious aspect of an apparently sincere celebration of the first golden age of cinema, arriving at a time when most theaters around the world are trading 35mm for digital projection—and those who can’t afford the new technology can go quietly out of business. In this context, there is something almost sacrilegious, yet also painfully logical, about the inconsequential levity of the film, just as there is great irony about watching it in any format other than 35mm. To be sure, the deliberate softness and graininess of its cinematography are only done full justice on this soon-to-be-defunct format.

The film’s script itself clearly allegorizes the shift to digital and the loss it implies. Following a fire at Valentin’s home in which all his films are burned, Miller takes the only can of film that he salvaged from the fire, only to realize that it is a discarded scene of their one appearance on the screen together: his silent love declaration to the young woman. Such a diegetic moment, it is clear, would not have been possible in the digital age. In another scene, Valentin finds all his belongings carefully collected from pawnshops and at auctions by Miller, stored in a room of her Beverly Hills mansion, evoking the preservation and potential subsequent oblivion implied by digital storage.

There is nothing far-fetched about these observations. Director Michel Hazanavicius has a knack for using pastiche to comment on the present day situation, as attested to by his marginally amusing OSS 117 series—a parody of the 1960s James Bond franchise which criticizes French racism and bigotry (and like The Artist, also stars Dujardin). With this latest effort he has surpassed himself in terms of high concept: opting to make a silent film about the early years of talkies, instead of a sound film about the twilight of the silent cinema. Yet this explicit, inverted nod to Singin' in the Rain (1952) somewhat condemns the film to being an ironic, postmodern palimpsest, or, worse, falling into the derivative category of the spoof.

In earnest, one would love to love The Artist, which, at its best, is extremely endearing melodrama pastiche. But in spite of its seductively reconstructed universe, its script is glib and many scenes overly indulgent. In a way, the film as a whole replicates the self-congratulatory, hammy nature of its lead protagonists—but also, beyond their narcissism, their unlikely boneheaded likeability. With the added exoticism brought about by the revisiting of Hollywood by French eyes, and with French actors (this Gallic input providing the final joke of the film—and the founding argument behind Valentin’s resistance to sound technology: his thick French accent), one would gladly embrace the cheerful silliness of it all, had the film not been so incoherent in its referencing of film history.

The Artist is rife—of course—with quirky references to silent cinema techniques, and amusingly plays with the inversion of silence for sound (and these instances are by far preferable to Ludovic Bource’s often arch score). But for a film investigating the moment in time when the cinematic medium reached its apex in terms of visual plasticity and poetry, it displays a painful lack of coherence and purity: the film haphazardly blends visual quotes from King Vidor, Fritz Lang, FW Murnau, Fred Niblo, Sergei Eisenstein and Frank Borzage silent classics with shots straight out of 1940s cinema, most notably the dinner-table montage scene from Citizen Kane (1941). Elsewhere, the film references even the late 1950s: Valentin watches scenes from his own films on his home projector, inescapably evoking Gloria Swanson in Sunset Boulevard (1950); a nightmare scene evokes Wild Strawberries (itself an homage to silent cinema; 1957); and the soundtrack rather counter-productively quotes Bernard Herrmann’s ‘Scène d’amour’ from Vertigo (1958) in one protracted key sequence.

While the first part of the film is brisk and well paced, the second half tends to indulge more in this gratuitous quoting of silent classics, slowing down the plot’s progression with repetitious moments, so that the film’s own professed love of cinema proves to be its undoing. This does not detract, however, from its cast’s unquestionable charm (and, in Dujardin’s case, innate physicality), with Bejo resurrecting some of the young Joan Crawford’s sex appeal and pizzazz, and the score of Hollywood actors in bit parts (John Goodman, James Cromwell, Penelope Ann Miller, Ed Lauter, Malcolm McDowell) providing a very solid supporting cast to the action, emphasizing the self-referential nature of the film. Here, one should point out Goodman’s excellent performance as a partly debonair, partly tyrannical studio executive, and, even better, the little dog Uggie, quite irresistible as Valentin’s faithful sidekick both on and off screen, running to its master’s rescue in another borrowing from a classic cinema trope.

Silent cinema has already been revived in the post-silent period century (Aki Kaurismäki’s Juha [1999] a fine example), and it is a good thing that this film should receive wide acclaim, but let us not be fooled: if the film reaches its target, it is only by mistake. A telling anecdote dates from the early 2000s, when the mercurial producer Thomas Langmann (son of Claude Berri), furious that Guillaume Canet turned him down on a project, went up to the actor’s apartment and punched a guest of Canet’s who had the misfortune of opening the door, mistaking the unfortunate man for the actor—not knowing even, perhaps, what the actor he wanted for one of his projects actually looked like. Much like Langmann, The Artist lacks genuine refinement and taste, and further discernment, and confuses what it is willing to celebrate (silent cinema) for what it ends up producing, namely a pastiche potpourri of Hollywood classic cinema. In spite of appearances, and the obvious encyclopedic amount of documentation that went into reconstructing the universe of the film, The Artist’s authors know a lot about the look of early and classic cinema, but ultimately very little about the essence of the fine object they quote with such zeal. If the paraphernalia, costumes and visual charm of the silent era are certainly present here, the philosophy that elevates cinema to an art form is all but missing, and the freshness of the times is only recreated with a strong scent of formaldehyde, beautified with naively smiling clichés, tongue rooted firmly in cheek. It seems as though to the authors of The Artist, silent cinema was merely this warm and fuzzy, but ultimately somewhat stupid, panache-filled but immature art form. So that the bittersweet melancholy the film elicits, beyond the kitschy mish-mash of iconic imagery, has more to do with the death of a medium than the revived glory of melodramas of yore. Sunset Boulevard has become Sunset dead-end, or cul-de-sac, as the French call it. But it is a pretty nook all the same, and bric-a-brac has its charm, too. Warned that it is that (and, again, an obituary) that they are looking at, many should still go and enjoy the undeniable qualities of The Artist.

The author wishes to thank Michael Cramer and Marcelline Block for their help copy-editing this piece.

2011: The Year in Cinema

Slated for international release in December 2009 and slotted again for its Cannes premiere in May 2010, Terrence Malick's The Tree of Life (pictured) was destined to be the film event of the year from the moment it belatedly screened on the Croissette in 2011. Though it would prove comparably divisive among international critics upon its debut, Malick's fifth feature received enough support to deliver on its advance billing, easily qualifying as the critical hit of 2011, as it topped virtually every critics' poll - including affiliate site Ten Best Films' 2011 Mini-Poll. A work of origins and grace, and an extraordinary piece of subjective film practice, the critical popularity of Malick's Palme d'Or was rivaled at Cannes only by Lars von Trier's Melancholia, which offered something of a negative image in its apocalyptic subject and wish to bring about humanity's destruction (for this writer, far less noble sentiments in a surprisingly pedestrian package; 2009's Antichrist remains the true shocker, compared to Melancholia's warmed-over provocation). Of course, von Trier's act of self-annihilation at Melancholia's press conference was enough to insure that it would not seriously rival The Tree of Life for the top prize, leading its more adamant defenders to wonder what if Lars wasn't Lars.

However, with Turkish auteur Nuri Bilge Ceylan's Once Upon a Time in Anatolia (Mini-Poll #5), co-recipient of the runner-up Grand Prix, Malick and von Trier were not only challenged but indeed bested for the best work at the 2011 Cannes film festival. Working in the poetic tradition of European and Middle Eastern masters Andrei Tarkovsky, Michelangelo Antonioni and Abbas Kiarostami, Ceylan succeeded mightily in producing a synthetic portrait of his nation's split identity that likewise featured the year's most memorable set-piece - a magical gas-lit interlude, worthy of late Tarkovsky, following an evening exploring the pitch black Turkish night. Ceylan's only serious rival for 2011's best film debuted at Berlin a few short months earlier: Béla Tarr and Ágnes Hranitzky's The Turin Horse (Mini-Poll #4; pictured). Tarr's purported final work represented an endpoint for the director's extreme long-take work, and perhaps the final word for a European art-film tradition that has long been chronicling the continent's collapse. Both films, 1a and 1b among 2011 releases for this writer, will be distributed by Cinema Guild in early 2011, along with Hong Sang-soo's career-advancing Un Certain regard offering, The Day He Arrives, a runner-up to 2011's "ten best films".

Like Ceylan's film, The Turin Horse also finished second to another exceptional fest entry, Asghar Farhadi's A Separation (Mini-Poll #3; pictured). A masterpiece of life in theocratic society, Farhadi's contemporary Iranian powerhouse represented one half of the year's finest national double bill. Back at the French festival, Jafar Panahi (under the conditions of house arrest and a twenty-year ban from filmmaking at the time of production) and Mojtaba Mirtahmasb's This Is Not a Film (Mini-Poll #9) completed this pairing, screening out-of-competition following its reported smuggling out of Iran on a flash-drive hidden inside a birthday cake. Few films have ever shown as much courage on the part of its makers - This Is Not a Film led Iranian officials to uphold the director's sentence - or a comparable need on the part of the artist to make art. Together, A Separation and This Is Not a Film suggest that Iran might again be a serious, if endangered player on the world cinema scene, particularly when also considering Abbas Kiarostami's recent return form with Certified Copy (2010), which ranked very near the top of 2010's finest works.

Elsewhere at Cannes, Aki Kaurismäki's Le Havre (pictured) and Jean-Pierre and Luc Dardenne's Cannes co-Grand Prix The Kid with a Bike (Mini-Poll #7) emerged not only as first rate filmmaking in both instances, but like the Iranian works, an apt double bill treating at-risk youth subjects and their adult guardians (depicted in each instance by bold primary hues). The relatively unimpressive performance of the Kaurismäki in year-end wrap-ups, including Ten Best Films' own poll, following its awards ceremony shutout at Cannes, is baffling to say the least. Also in competition, Bertrand Bonello's House of Pleasures impressed more for its atmospherics and its lush cinematography (and it did) than for its treatment of its very familiar fin de siècle subject. Premiering at the Cannes Quinzaine des Réalisateurs and screened again within the New York Film Festival, Swdish filmmaker Ruben Östlund's genuinely provocative Play offered a disquieting if also highly astute look at liberal cultural acquiescence.

In Berlin and on German television, Christian Petzold's Dreileben: Beats Being Dead (pictured) and Dominik Graf's Dreileben: Don't Follow Me Around made for the year's most theoretically compelling consideration of the cinematic diegesis, even if they were let down by the trilogy's less successful third part. Debuting in Locarno and playing again at the New York Film Festival, Mia Hansen-Løve's Goodbye First Love further bolstered the thirty-something director's claim to be numbered among the world's more exciting young auteurs. With respect to the more established, Aleksandr Sokurov's Faust completed the director's 'tetralogy of power' by looking to the venerable twentieth century tradition of the heretical; shockingly, this bizarre work, even by Sokurov's standards, managed to earn the top prize at Venice. Premiering across the world in Hong Kong the previous March, and even further afield with regard to its relative mass appeal, Johnnie To's Don't Go Breaking My Heart represented both the year's most pleasurably frothy romantic comedy and also the closest that anyone came in 2011 to making a Wong film. (To also had a major Venice hit in Life Without Principle, which unfortunately this writer has not yet had the opportunity to see.)

Apart from The Tree of Life, the American film of the year was another Cannes prize winner: Danish-born art-action director Nicolas Winding Refn's Drive (Mini-Poll #2). Refn's film was a faithful extension of aesthetically adventurous mid-level action filmmaking in the image of Walter Hill and Michael Mann - with a surplus of compelling big and especially small screen notables, and more than a dash of early 1980s aesthetics. Beyond Drive, 2011 witnessed a series of successful auteurist offerings from major American directors: Martin Scorsese's Hugo, to date a new peak in 3-D aesthetics, and one of the director's better films; Clint Eastwood's quintessentially self-revisionist J. Edgar, which given its authorial origins, subject matter and scathing early notices might just insure that it was the year's most pleasant surprise; and David Fincher's The Girl with the Dragon Tattoo (pictured), a summarizing work from the signature American director of the digital age. Among non-American English-language directors, Canadian auteur David Cronenberg's A Dangerous Method continued an unbroken series of successes with his most explicit exploration (and take-down) of Freudianism to date.

Among those films that reached wider global and especially American audiences, Paul Feig's Bridesmaids (pictured) stood out not only for the strength of its comedy, but also for both its gendered revision of the gross-out buddy comedy and for its class sensitivity. Bridesmaids was perhaps 2011's finest blockbuster - not that this writer saw or cared to see any more than a fraction of the pictures in this category. Steven Spielberg's 3-D The Adventures of Tintin did not match Scorsese's stereoscopic work, but it did offer one of the year's most viscerally exciting chase sequences, as well as a retinue of vivid characters drawn from its comic source. (This writer has not yet seen ,i>War Horse and is not entirely certain when or if that will happen.) In a world very far removed - fiscally speaking - from Spielberg's, J. C. Chandor's debut feature Margin Call managed to socio-economic relevance - with cast to match Drive's.

Among Oscar hopefuls, Tomas Alfredson's Tinker Tailor Soldier Spy, to take Mrs. Tativille's reading, offered a welcome contrast to the informational overload of the contemporary mainstream idiom. Bennett Miller's Moneyball (pictured), like Alfredson's, worked admirably as well-scripted, actor-driven entertainment, while Alexander Payne's The Descendants brought a lived-in sense of place to a picturesque, rarely screened corner of the U.S. The Descendants may not have entirely lived up to the hype - it certainly does not rank among the year's best, not to mention those of Payne's - but it also was not the major let-down others have been charging amid its current moderate backlash. Then there is Woody Allen's Midnight in Paris, one of the atrocities of the year - though it did finish as #8 on the Mini-Poll. In the perceptive if cutting words of Mrs. Tativille, Allen's critically successful latest provided a form of "light entertainment for geniuses."

Of course, as always, 2011 saw a spate of belated commercial and festival releases that qualified among the year's more interesting efforts. In New Haven, the beginning of the calendar year saw the premiere of Mike Leigh's fine Another Year (2010), which for this writer would have challenged for a place among 2010's 'ten best.' Premiering at approximately the same time in Connecticut was Frederick Wiseman's excellent Boxing Gym (2010), another very close call retrospectively for 2010's top work. Just a step below both of these, Aaron Katz's Cold Weather (2010; pictured) represented much better than average American independent storytelling. However the true and most truly independent films of the past few years were Liu Jiayin's extraordinary Oxhide (2005) and Oxhide II (2009).  The Oxhide films, which received screenings at New York's "Migrating Forms" event, offered a formally and theoretically rigorous minimalist strategy that showed the way forward for self-financed directors everywhere.

The lip-synced confessional structure of Clio Barnard's The Arbor (2010; pictured) represented another significant belated U.S. debut from Great Britain, as well as one of the more interesting experimental documentaries of the year - in the year that featured a number. Other efforts in this welcome non-fictional trend included fellow U.K. release, Michael Winterbottom's The Trip (2010), which featured the ever engaging Steve Coogan and Rob Brydon; Werner Herzog's 3-D return to form, Cave of Forgotten Dreams (2010) Andrei Ujică's major work of the historical archive, The Autobiography of Nicolae Ceausescu (2010; Mini-Poll #9); Chilean political filmmaker Patricio Guzmán's dialogic exploration of the past, Nostalgia for the Light (2010); and Chinese master Jia Zhang-ke's creditable latest, I Wish I Knew (2010). 

Among belatedly released French titles (in New Haven and New York respectively), Sylvain Chomet's The Illusionist (2010) provided an elegant epitaph to Jacques Tati's magical body of work; Xavier Beauvois's Of Gods and Men (2010) was solid work all around, while François Ozon's Potiche (2010) was more lightly likable fare (though no less successful). In Sub-Saharan Africa, Mahamat Saleh-Haroun's A Screaming Man (2010) extended the director's streak of recommendable work. While in Asian popular cinema, Korea led the way with Kim Jee-woon's revenge-cycle apogee, I Saw the Devil (2010; pictured); and Na Hong-jin's The Chaser (2008) and The Yellow Sea (2010), which both screened at the New York Asian Film Festival. Then again, this year's true NYAFF highlight might just have been Yoshihiro Nakamura's A Boy and His Samurai (2010), which further confirmed the Fish Story's director as one to watch among the more narratively inclined.

For many critics, 2011 was a very strong year - certainly far better than this writer experienced - on the basis of a number commercial premieres from 2010's very best: Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives (2010), Certified Copy, Raoul Ruiz's Mysteries of Libson (2010; pictured), Cristi Puiu's Aurora (2010), Radu Muntean's Tuesday, After Christmas (2010), Michelangelo Frammartino's Le Quatro Volte (2010). Had this writer seen any of the above this year, rather than last when they made the author's 'best of 2010' list, 2011 might have provided much richer viewing that it ultimately did (particularly through the first eight months).

Of course, there are also those films that have not yet made an appearance locally, but which could easily raise 2011's qualitative mean, with Pablo Giorgelli's new-New Argentine Las Acacias, Bruno Dumont's Hors Satan and Gerardo Naranjo's soon-to-debut Miss Bala (pictured) highest on this writer's must see-list. There are also festival premieres, such as Santiago Mitre's The Student and Wim Wenders's Pina (Mini-Poll #5), which site co-author wrote about with elegance in 2011, but which again this writer has not yet had the opportunity to see. For many more titles that this piece missed, some intentionally, more not, please do consult the following lists and wrap-ups. Here's to a cinematically robust 2012, and consequently to a better sense of the year that was!

• Soren Bailey (Ten Best Films)
• Lisa K. Broad (Tativille)
• Mike Lyon (Tits & Gore)
• Matt Singer (IFC)
• R. Emmet Sweeney (Termite Art)
• Jeremi Szaniawksi (Ten Best Films)
• Karen Wang (You're Making a Scene)
• Grant Wiedenfeld (Ten Best Films)
• Alberto Zambenedetti (Ten Best Films)