Nobody's seen it yet, to my knowledge. It screens tomorrow night.

It will not, sorry. I can't fit a four-hour movie into my schedule.

"No, there are all kinds of largely context-less, mostly dialogue-free survival movies - Gerry, The Naked Prey, Diamonds of the Night, To Build a Fire, Cry in the Wild, The Bear."

My problem with Only God Forgives is not that it needed more backstory. Emotional investment has little or nothing to do with that.

Didn't I give an F to The Paperboy last year? I guess it might have been a D-.

God I hate Disqus. LET ME REPLY TO THE POST I'M ACTUALLY REPLYING TO.

Okay, that makes more sense. There's so much emphasis on the shirt (she's staring at it earlier, caressing it after) that I thought it was the point.

Technically Somebody Up There Likes Me is last year's film, which is why I didn't count it. My fault, I worded it poorly.

I'm doing that on Twitter, though obviously pretty briefly (and my tweet about As I Lay Dying was just a joke). Generally speaking, I think adapting great novels for the screen is a bad idea, especially when the novel is as language-driven as Faulkner's is. Franco tries to use split-screen as a visual correlative, but…

That's me. (I still write for Las Vegas Weekly. Critics with only one venue are rare these days.) And while I didn't write the documentary piece (that was Scott Tobias), I wholeheartedly agree with it.

No, I couldn't make the first screening so I'll be checking out tonight's. But word is bad so it doesn't look likely I'll survive.

It's not part of a backlash if you're writing immediately after the world premiere. And as I say, nobody could possibly deny that this film is similar to numerous other Coen films. That's not inherently a bad thing; I mention it here in a specific context, also noting that The Past, which I loved, is great in a…

I skipped it because I really didn't like Waltz With Bashir at all and word from friends who did like WWB was not good. But I'm kind of regretting that decision just because, as you say, it looks so insane.

Correct. Goodman's character assumes his name is Lou N. Davis.

First of all, you misunderstand me. I'm not opposed to "talkiness" per se. Many of the dialogue-heavy scenes between Lecter and Clarice in the book are fantastic. But they're fantastic precisely because of what's going on beneath the words being spoken, as each party manipulates the other. Whereas all that guff about…

I strongly disagree. Drama is fundamentally subtextual, and the whole idea of therapy is to bring all that stuff to the surface, where it instantly becomes banal. (And I don't like A Dangerous Method or The Silence of the Lambs, so there you go. I do like Harris' novel, but even then the parts of Clarice and Lecter's…

Precious is another film I walked out of at Cannes after it won Sundance, actually (though I wound up going back and watching the whole thing later, out of a sense of professional duty).

It's still a strong A- (88/100; my A begins at 91) after two viewings. But it could go up in future; that's happened before. (And it's a fairly academic distinction; obviously I think the movie is fantastic either way.)

Oops, quite right. Totally forgot.

Because it was clearly doing nothing more than demonstrating what a wonderful fellow the Oakland transit cops killed. That's not dramatic. I can be angry about the incident without being told for 90 minutes that the victim loved his mom and was kind to animals and (I'm not making this up) would hook up random people…