Uh, I'm not a fan of "Prospero's Books" either, but Peter Greenaway is a genius on the order of Kubrick in framing shots. He may have shot his wad now, but "The Draughtman's Contract," "The Pillow Book," "Belly of an Architect" (Brian Dennehey, figs, and Xerox machines!), "Drowning By Numbers," and on and on are…

"Everybody Hurts" is…not good. I'm in the camp that says that the more you understand R.E.M.'s lyrics, the worse the song. That song is A=A telling, not showing.

A movie about how a wine judging competition CHANGED EVERYTHING FOREVER vs. a black comedy character study of the desperation and loneliness of middle age. Hmm.

Maybe in real life Cook was exactly as humorless and dickish as he wrote him?

I find it hilarious when virgins talk about what sex ought to be like.

Well, the show is called "Louie," not "Stroke Dane Cook's Easily Perturbed Ego."

I used to love Jelleyfish. But they're really…theatrical. Sometimes everyone likes that (Queen) but most of the time it's a little exhausting. See Of Montreal.

I don't listen to Yoko nearly as much as When Your Heartstrings break and The Coast is Never Clear, but those two albums are near-perfect. They're particularly great for a car trip in California.

DHC were awesome. I just think everyone got tired of all the No Doubt clones popping up. Save Ferris, anyone?

Trash Can Sinatras: too late for the '80s jangle pop bloom crested by the Smiths, and too early for the '90s Belle & Sebastian pop revival. Seemingly every label they signed with immediately went bankrupt.