I watched half of the first season and couldn't get into them.
All good sketch tv groups have well-defined comic personalities in the cast, but all the Birthday Boys seemed to me like the same kind of bland, doughy, oddball.
Because of that sameness, I never left an episode with any sense of them as individual…

Goddamn… Carpenter… Escape From LA… just doesn't work.

Agree.
This ep had some decent gags but not surprising or really capitalizing or cutting into the subject matter very deeply.
For Girls it was really safe.
While the Elijah stuff was funny, it almost felt to me like it was a way to spice up the blandness of the writer's workshop and fish out of water stuff, kind of…

I love that Soderbergh has done this.
Haven't had a chance to watch his cut yet, but the last time I watched 2001, it really struck me how overlong it was.
In particular, everything in the second, "moon" sequence, prior to the Discovery mission, is complete unnecessary as all the information is retold to Bowman during…

I thought they were going to reference a real life incident and reveal Frank banging the food cart at some point.
Because in Air Sex Society banging a food cart probably counts.

Here, let me slide you some duct tape for that glory hole.

I saw it today and thought it was a real bore.
I had high hopes. (no pun)
Rote themes, wasn't very funny, none of the characters were terribly compelling, even his directing was low key and rarely interesting.
Prefer Long Goodbye, Big Lewbowski chiefly… hell, even a bad rerun of The Rockford Files.

They should just reboot FIGHT! DRAGON and call it a day.

I hate to slag on low budget films when it comes to aesthetics but this is a case where they clearly didn't have the means to pull off the cinematic look of DePalma or Hitch, yet they tried to when they should have admitted to their limitations and gone for something else.

Yeah, I'd actually assumed he was dead or long retired fifteen (or twenty) years ago until I saw some old man on Walker, Texas Ranger that I vaguely recognized.
It took me a long time to figure out, "Holy Shit, that's Rod Taylor!"

Great talent and one of those guys who could convey both a sense of tough masculinity and sensitive intelligence (making him the perfect hero in The Time Machine).

Goddamn Lee's Summer of Sam is a fucking mess of what is great subject matter for a movie (the doc NYC: The Coolest Year in Hell does a decent job with the era).

That scene was pretty awful.
The score sounds like something from a Charles Band flick.
I get that it isn't aiming for reality, but it is unintentionally funny instead of meaningful or cool which is what it appears to aim towards.

Neon Demon sounds like a late 70's gaillo where big-haired Euro babes are killed off in a discotheque.
Is the killer the coke-addled slimeball owner?
The hunky bartender?
The creepy, mute brute bouncer?
The backstabbing ingenue?
The psychologically damaged heroine?
The prudish building inspector looking to shut the place…

Richard Gere snaps jewelry box closed on Mads Mikkelsen's fingers.
Mads laughs like a drunken pony.

The ape is making sign language to his wiener?

It really is great.
I remember when my best friend recommended it to me, he was pretty much speechless,"Sword of Doom…. it's… you just have to see it…," so there was this air of mysterious danger attached to it, and, boy, does it deliver.

I think they realized pretty early on that Bob having two friends who were ladies men, one at work and one at home, was redundant.
They saw the dim bulb potential in Howard and he quickly became the show's resident retard.

How easily we forget Kundun.

Maybe Cusack is one of those guys whose whole career was based on the charm of being young and he just couldn't transition to being older, puffier, middle-aged.
Thus, in order to keep working, it's mostly in crap that will just hire him for his name recognition.