Sleepless is pretty dull, except for the train sequence. I agree that his last great movie is Opera, though. But you get the sense that movie killed a piece of his soul, and he never want back to directing at that level of artistry. Kinda like Oliver Stone after Alexander.

I'm not sure if "trivializes slavery" is the appropriate description, but it certainly does fetishize cruelty. And it doesn't truly care about slavery from any historical or human rights perspective, just as a convenient jumpoff for an exploitation movie.

Of course I'll save my final judgment for the movie itself. And I hope to like it. But the Gravity trailer really plays like a scene from the movie, rather than a cut together assembly of moments.

Yeah, come on guys! It was the coolest slavery movie ever!

The review of the movie reiterates a reason the clip in the trailer just doesn't work for me: It's overscored. Way too bright, too.

You can see the R-rated director's cut on blu-ray and DVD. CoR is very underrated, and at least as violent as Pitch Black if that really makes a difference to you.

As tight and efficient as PITCH BLACK is, THE CHRONICLES OF RIDDICK is better. It's one of the most ambitious big studio films of its decade—not just in terms of scope, but also of intellect. And it works because it's absolutely sincere.

The first half of the movie is great. It's a delirious melodrama about workplace sociopathy and product culture. The second half is just more familiar for scholars of De Palma thrillers.

I like it. It has more personality than the newest Soundgarden album.

"Somewhere along the line, Gabrielle Union’s rise towards stardom got derailed."
Hollywood sees her only as a "black actor." She's in "black movies." All of them.

Yeah, I rank it in the top 2 or 3 Stone movies, and it's the best of his "Vietnam trilogy." Its melodramatic extremes are what make it so awesome: Norman Rockwell goes to Hell. Every scene is amazing.

It's the most underrated Carpenter film.

The original Degrassi Jr. High and Degrassi High went hard. The line "You were fucking Tessa Campanelli?" was actually aired on Canadian television. We all remember it! I'm a D.O.G., so I haven't seen much of the new series. But does it ever go to those places?

True. But the difference is Alec Baldwin and David O'Russell don't spend their movies documenting what real-life jerks they are. (But I guess if you pay attention, Michael Bay and Todd Phillips do this.)

Correct. And for a minute it seemed as though Oswalt was about to say something fresh on this topic, and then he just chose not to.

Burton's movie isn't up to the anarchic level of MARS ATTACKS!, but has some of that spirit. It's quite good (the first act is great), and most people thought so pre-ALICE IN WONDERLAND.

It's an ideal we should strive for, but I just wonder if there's a smoother way to get there. The majority of these sex comedy gender-flips try to coast by on the "shock of the new." Once that's normalized, those particular expressions will mean even less. It's why I'm only interested in honest portraits of teen…

That's a fair point. The majority of teen sex comedies have male protags and have been pretty stale. But there are a number from a female p.o.v. as well… Fast Times at Ridgemont High, Spring Breakers, Foxes, Easy A, if you extend the sex comedy age limit even The Sweetest Thing and TV's Girls. I'd like to see a movie…

Also, there was no casual balltapping between teens in the '90s. Gimme a break.

The '90s were many things. But they really weren't an especially sexy, or sex-positive time. AIDS was a hot topic. Grunge and self-hatred was cool. Or maybe it's partly that I was a teenager and wasn't getting laid.