And what about Legal Eagles, dammit? Where does Ivan Reitman rank in the pantheon with Wyler and Fellini?

Man, this is gonna be good.

I would ask him to shake hands but then also scream in terror as if I was crushing him.

Why do you say these things to me, Sam Adams, when you know I will kill you for it?

The first two Superman movies were shot at the same time, I think, so I don't know if he even got two paychecks. He probably got the 70 cents for Superman, and the toffee apple for Superman II.

"I met him in a swamp down in Dagobah…"

You know, Second Amendment rants, violent threats against the president and his Cabinet. But nothing like THIS.

I second your recommendation, but the movie itself is actually very good, so it doesn't fit the category. Parts of it are sort of a prototype for Mr. Deeds Goes to Town, with some of the same ideas and sequences. It's not quite as good at that movie, probably, but it has most of the good aspects of the more famous…

In fairness, you document your argument well. I agree that was way, way too many appearances for Litella. I'm just saying, Gilda did so much great and varied work on the show, she doesn't deserve to be pilloried over two particular characters that Lorne Michaels decided to run into the ground.

Overrated? Maybe. Artists who die young tend to be overpraised in death. But the "Best of John Belushi" video argues otherwise.

I know I keep complaining, but these are much better written than Nabin's classic SNL reviews were. He seemed to actually hate doing them.

Just because Belushi had an ego and stole scenes doesn't mean he "didn't play well with others." He made his career playing in ensembles and partnerships, and he did it brilliantly.

So in last week's review we learned that Gilda was a "needy" performer who relied on one-joke characters. This week we learn that Belushi, one of the most famous and successful alumni in the history of both Second City and SNL, was NOT great at playing in an ensemble. Well, at least no one can accuse Phil of parroting…

Yes, Pauline Kael talked about Meatballs in her later review of Stripes, and said Murray was great but that the movie was ruined by "that damned kid," or words to that effect.

Not the stumbling over lines, but the phone business and the camera miscues were part of his clueless white-guy comic persona.

He is not afraid of you and will beat your ass.

I like ABBA but I didn't understand Phil's defense of them here. First he says they were lip syncing, then praises them as "hard-working?"

Murray always seems to develop good onscreen chemistry with whoever his co-star is—Dustin Hoffman, Warren Oates, Sigourney Weaver, Jason Schwartzman, the groundhog—but even so, I think your opinion is correct.

Actually, Jean-Luc, those nonsensical bits of business you're talking about were part of what made Chevy a star.

If you actually watch some of those sketches rather than dismissing them over the silly costumes, you might have a slightly different take.