“If anyone asks, tell ’em Vinny said it’s OK. If they say ‘Vinny’s OUT?’ tell ‘em yeah he’s out and he’s making big plans.”

The scene where he offers to help covers that, I think. “Mrs. Dashwood, you must give me some occupation or I shall run mad.” A fantastic line, by the way, and original to Thompson’s script if I recall correctly.

I’d like to see more discussion of the voice casting. Sure, celebrity cameos were nothing new to Batman shows (at least since 1966) but Andrea Romano’s choices were never stunts. Stockard Channing as grown-up Barbara Gordon. Paul Williams as the Penguin. Bud Cort as Toyman. David Effing Warner as Ra’s al-Ghul.…

I don’t know, but it’s pretty funny how the video is all “DCAU beats MCU!” while ignoring how badly Warners has coordinated the cinema-based franchises.

“World’s Finest” is right up there, even if it’s not technically a movie. I love the contrast between Clark and Bruce as alter-egos. Also the priceless beat where Batman catches Supes off-guard with a judo throw.

I don’t think that they sounded exactly the same. Conroy’s interpretation became subtler as the series went on-- in the early episodes the distinction is just much broader.

Blame it on the bossa nova.

I still feel like RAISING ARIZONA is the only Coen film where you have the option of laughing at or empathizing with the characters. So much of their work is intentionally distancing but I always kinda feel for Hi & Ed.

Were all the songs in Mandarin? I thought Sally Yeh’s “Material Girl” was in Cantonese. Obviously, I’m not an expert...

That would be Stormbreaker.

Like any FX technique, CGI is more interesting when artists are inspired to push its limits in order to achieve the image they need, rather than falling back on the tried and true for the image that will just be good enough.

I love the sequences in THIS ISLAND EARTH where an unearthly color palette is achieved by switching the Technicolor matrices with each other.

In principle, it’s just as much a special effect as the rotating “centrifuge” set from 2001.

Naturally, there are examples that push those definitions in both ways. On 2001, Kubrick made an effort to minimize the amount of duplication necessary for composite shots, the better to achieve uniformly sharp images. For the Tycho excavation scene, the partial set with the actors was filmed first and reference was ta…

For the purpose of this discussion this may be a pointless distinction, but modern terminology identifies “special effects” as illusions achieved on set and “visual effects” as illusions created in post-production.

Dakota Fanning in the miniseries “Taken”.

Joseph Mazzello too.

For that matter, 2001 makes the list but there’s no mention of Stuart Freeborn’s truly groundbreaking ape-men.

Regarding the digital revolution. For me, the moment I saw the future of invisible effects was while watching Ivan Reitman’s DAVE.

Some smart picks on this list. I was very happy to see CITIZEN KANE here. It was once said that only three people— Welles, Toland, and Linwood Dunn— could point out every single trick shot.