Genna Rivieccio

This movie gets real fucked up. Just you wait until the end.

Christina Applegate is the shit in this movie. And so is her wardrobe.

I got drunk and left this poster at a metal bar. I think the patron who found it is quite happy with his find.

"Pumped Up Kicks" is kind of like their version of Edward Sharpe and the Magnetic Zeros' "Home" in that they probably won't ever have a song that is even half as good.

No matter how far away from the 90s it gets, I still can't help harboring a love for Blink-182.

Hall & Oates have made my (and your) dreams come true.

In honor of my time living in Bed-Stuy and accidentally getting lost in the Marcy Projects on more than one occasion.

You have to love PB&J--with or without the crusts.

Definitely the most under appreciated installment--before Scream 4 came out. Though it is a little bit on the ridiculous side so I can see why it wasn't that well-reviewed. Still, Parker Posey, as usual, is the highlight.

The worst kind of syndrome, but the best name for a syndrome. It makes the symptoms sound so pleasant and harmless.

You can condition children to be disgusted by meat if you play this song every time they try to eat it. Did I mention I haven't got a maternal bone in my body?

This movie has such a promising beginning: A fat Parker Posey, Animotion being played at Danceteria, The Cure references...but then, it turns extremely gross when Steve is shown having a diarrheaic explosion from laxative-laced cocaine. And no, it's not as humorous as it might sound.

Did you know Ian didn't actually fuck Annik Honoré? The media (read: Control) tries to make everything appear so much more scandalous than it actually is.

Natalie Wood acts like a real cunt to James Dean in this movie. And he likes it.

I always seem to go long periods of time without watching this movie, hoping that the next time I revisit it I will somehow actually think it's good. But no, turns out, Sarah Jessica Parker is at her best when she stars in TV shows (Square Pegs included).

As fellow Warhol superstar Jane Holzer once said of Edie, "Her looks, her expressions, I think, were her sense of humor." The uncertainty of this quote, even from a person who knew her well, is indicative of a greater motif in that, while so much of Edie's history is covered in this book, the ambivalence about who she really was remains at the forefront of her life's story. And that, as we all know, was the greatest tragedy of the Edie Sedgwick tale--never being truly understood by anyone. Warhol said it best when he asserted, "She had a poignantly vacant, vulnerable quality that made her a reflection of everybody's private fantasies. She could be anything you wanted her to be—a little girl, a woman, intelligent, dumb, rich, poor—anything. She was a wonderful, beautiful blank. The mystique to end all mystiques."

Why does this movie never get old? And why didn't Jennifer Grey become a more sought after leading lady once this came out? She was so perfect as the underdog, the girl that dudes don't typically take a second glance at until she proves herself enough for Patrick Swayze to say, "Nobody puts Baby in a corner."

I don't know what it is with me waiting a million years to get albums that I know I should buy the day they come out. I really regret not listening to this sooner. "Sprawl II (Mountains Beyond Mountains)" is, like, a crowning achievement in the Arcade Fire repertoire.

I remember when I first saw the trailer for this in between Planet Terror and Death Proof and thinking it could never possibly get made for real--but I'm so fucking glad it did. Robert Rodriguez somehow finds a way to make an amazing political statement by being completely over the top with sex, violence, and dialogue. Robert De Niro is also an overt caricature of a George W. Bush type politician, even going so far as to say, "I'm gonna smoke 'em out." Other surprisingly impressive performances come from Jessica Alba and Lindsay Lohan (who should embrace her hot mess image more often for film roles).

I really think this is their best record, which can rarely be said about an artist's most recent work. And, while many Broken Social Scene enthusiasts are fondest of the You Forgot It In People album just based on "Anthems for a Seventeen Year Old Girl" alone (and also "I'm Still Your Fag"), with Forgiveness Rock Record, BSS proves that they're incapable of making a weak song. I find myself listening to the album the whole way through every time.