The claw marks are a fantastic detail.

Wow, Apatow’s “write what you know” approach gets less and less relatable with every film.

Because the multiple rejected pilots for Star Trek weren’t famous enough?

Worth noting that Faris also executive-produced THE HOUSE BUNNY, and that it was similarly “noted to death.” Her initial premise had her character kicked out of the mansion for being too old (Hefner’s people objected) and becoming a fat slob (nope, keep on that diet).

Allow it!

“Valley of the Boom” was excellent.

Like this?

Has anyone asked Eugene Levy?

I do have to disagree with the article though. Steinman didn’t write the best song in STREETS OF FIRE— that was “I Can Dream About You,” by Dan Hartman.

No, it’s this:

So, we’re just not going to talk about whatever that was Mulligan was wearing for the monologue? That’s cool.

It was refreshing to see a sketch run on character instead of jokes for a change. “Are your hands touching? I’m out of my depth here, dear boy. Godspeed!”

What’s the deal with the flap behind his head? Don’t tell me I have to fold that down with my own hands.

Again with the DEATH WISH comparison, AVC? It really isn’t there. Bronson’s character was a pacifist family man turned vigilante; Oderkirk’s is a legendary assassin turned family man.

The film’s biggest (intentional) error is establishing that the transport ship carries five Huey choppers, until they take off and then suddenly there’s ten.

He has a couple of great scenes and I’m just glad to see him on the big screen again.

I still feel it would have been better if Duvall and Douglas had swapped roles.

It’s not truly the Best of “Smallville” unless a pickup truck explodes.

The Kong puppets used rabbit pelts for fur. On Mighty Joe Young they developed a technique for transferring the hair from a calf embryo to rubber skin.

There’s a waterfall setpiece in GAME that can be glimpsed in long shot as a matte painting in KONG.