Yeah, Bennett's contributions cannot be overstated and his collaboration with Tweedy remains for me the best part of Wilco. I love all iterations of this band, but that push-pull dynamic between them, as shown in the film, resulted in some of my favorite music by any band ever.

Alligators behind door #3 reminds me of that 8-bit dragon from Tic-Tac Dough.

"A more pussified version of Robocop" is an excellent way to describe a regular cop. I'm going to use that the next time I get a speeding ticket.

That last half hour is pretty great though—and it feels like an eternity. If nothing else, it gets at that kid thing about being trapped in your parents car for what feels like your whole life.

This is a really enjoyable documentary, and the degree to which the members of the band lack self-awareness would make it a really good double feature with The Queen of Versailles.

Uncle Fester: The Early Years.

Glad to see this getting such good reviews. I was worried that a bigger sound would destroy what made The Year of Hibernation so special.

I once wrote a paper arguing that Ilsa, She Wolf of the SS was a better movie about the Holocaust than Schindler's List. Sort of what you might call the Salo argument…

I thought the final arc for Dr. Greene was one of the best things the show ever did, since it showed something TV generally avoids: the prolonged death of a major character from an illness. And it focused so much on the medical details of his cancer coming back, all the various symptoms, the gradual loss of control…

Out of the Blue is one of the best movies of the 80s. It's criminal how underseen that film is.

It's bizarre that Hopper didn't choose to fish using dynamite.

S3 is ridiculous, but all plotlines of 24 are ridiculous. S5 of 24 is by far the best though. The joke was always that, for most seasons, it should have just been called 18. It's hard to sustain that kind of tension and plotting for so may episodes though, so I cut that show some slack there. Just think of how much…

I did appreciate the meta thing of having everyone on the show literally bury those characters.

Yeah, it took them awhile to figure it out (ahem…Dratch) but Baldwin was pretty great right from the start.

*pops up from behind bail of hay*

You could have just stopped that sentence at Giovanni Ribisi.

That scene turned me into a pile of man mush.

Heinekin? Fuck that shit, Pabst Blue Ribbon!

The McMillan and Wife joke in Best in Show slays me every single time.

Ratner should recast a new Rush Hour movie with them instead of Chris Tucker and Jackie Chan.