There's no way that comment about Cube and Geto Boyz being music for white people wasn't made by a white person.

Cube's first four albums are all terrific. Actually, THE PREDATOR is the most vicious and visionary of them all.

… and nobody at the AVClub had a mixed race baby. The End.

No, this is not a serious movie. The filmmaker never asks himself what point he's trying to make, and attempts to coast by with show-off shock value. And it looks like television.

Ti West definitely did establish himself as a vital voice in new horror movies with HOUSE OF THE DEVIL. It captured the feeling of (and feelings associated with) '80s horror better than every other movie that was trying that decade (except maybe RETURN TO SLEEPAWAY CAMP).

The "melancholy tone" of DAZED AND CONFUSED hasn't been denied, exactly. It's just that when you're a teenager it isn't there. The movie is a celebration, because it captures that point of life for that social demographic so well. When you're an 18-year-old suburban teen, you might have angst issues or whatever, but…

DAZED AND CONFUSED is 1000 times more entertaining than SLACKER.

I think most critics have it wrong when it comes to the Farrelly Brothers, too. STUCK ON YOU and FEVER PITCH didn't have the laugh quotient of earlier stuff, but were their most transgressive films. They were really onto something exciting with mainstream film comedy at that point, but it wasn't understood and so it…

Absolutely correct. It's the apex of the Farrellys career, and their last really good movie.

They were presented that way, but Beavis and Butt-head was always above the pop culture dregs. That most people didn't recognize this is what made it subversive.

It isn't better. It's about as funny as it used to be, but it's also too self-consciously clever and sounds too written now.

Except, barring 90-minutes of HOOK and half of CRYSTAL SKULL, those are all predominantly good movies.

It's a huge leap forward from part 2. But MI3 is a rather indistinctive action film. The sequences aren't imaginatively visualized, as De Palma does with every shot. Instead, Abrams just color corrects it from an inch of its life. There's too much TV technique in that movie, and for most audiences that seems to be OK.

Yup. Great song.

I think it's the best rock album of the '90s (though Superunknown and The Reality of My Surroundings are personal favorites). It's hard to express now the impact it had on teenagers when it was released. There's no filler, as far as I'm concerned. The scope of Mellon Collie is an essential part of it.

The last quarter of MELLON COLLIE is fantastic!

The joke is that they're still the same characters, but in a more esteemed position. In either case, I'm not sure how it's a given that it then must be self-consciously clever. My feeling is that Judge thought the riff on combining Human Centipede and Sex and the City sequels was really witty, except it's completely…

In any case, the movie as released is awesome.

Yup. Didn't work. Too self-consciously clever for these characters, and not funny except for the taste-of-human-butt line.

It's always been full of social commentary, in the sense that it's a satire on American life. But it's way more a riff on cultural trends and news headlines now. That, and that music video stars now have to sign off on this, is a disappointment. Still funny, though.