Yeah, I suppose "fails miserably" is a little strong. I'm just disappointed that, after three shows, they still haven't figured out how to rectify this. (Also how to write thirteen episodes worth of story rather than, say, ten, but that's beside the point.)

You make a very valid point.

The reason Diamondback doesn't work is because he's a blatant supervillain. He's over-the-top and irredeemably evil in ways that simply don't work in the context of the show, and I think it speaks to a fundamental flaw in all three of Netflix's Marvel shows thus far.

That's putting it kindly.

I have mixed feelings about Extreme Prejudice. It's certainly a good action film, but I feel like it marks the point when Walter Hill's particular brand of filmmaking - pared-down dialogue, stoic, macho protagonists, wild shootouts - started to lose some of its mystique. He still had Trespass and Geronimo to go, but…

I think that Fury Road - unquestionably my favorite movie from last year - is better as a pure action film than a Mad Max film, because for all intents and purposes, Max is almost incidental to the plot. I didn't think Tom Hardy was that great in the role, but it didn't matter, because the film really isn't about him…

I'd venture that Dalton was probably the second-best Bond after Connery. Instead of trying to go with what had come before, he went back to the source material and made Bond a burned-out soldier just one nudge away from exploding with rage. I mean, there's the rather brusque way he treats The Living Daylights's one…

I've heard theories that The Living Daylights was originally written with Moore to star, and quickly reshuffled to fit Dalton'. Goldeneye, however, was written with him in mind (though I have trouble envisioning Dalton fighting a woman who's turned on by being slammed into walls). If he had stuck around (or if they'd…

"Stuff my orders! I only kill professionals. That girl didn't know one
end of her rifle from the other. Go ahead, tell M what you want. If he
fires me, I'll thank him for it."

I think the second example was repeated (with some variation) in The Last Boy Scout - which, when you think about it, is basically the same movie with no restraint whatsoever.

I read that Black even included a scene where Riggs gets tortured much like he did in the original. But he also wanted Riggs to die at the end, which is when the studio put its foot down and he walked away.

"You give new meaning to the phrase drop-cloth."

So, a videogame adaptation of Final Fight.

What? Robert Vaughn isn't dead. In fact, he's the only actor from The Magnificent Seven who is still alive.

Especially since the secretary was played by Kurtwood Smith's real-life wife.

Well, considering all the acclaim and awards she's won for her work on Homeland, I'm thinking she doesn't really need a film franchise to be remembered for.

Well, Biehn got his own Dredd of sorts in Far Cry 3: Blood Dragon.

I once read a book that analyzed science fiction as a film genre, and they did a run-through of the Alien series (the first four) as an example. One of the things they mentioned was what you said: Alien is basically a horror film about working stiffs encountering the unknown, with workmanlike, realistic dialogue and…

This is actually an interesting point. You read stories about directors like Michael Mann and William Friedkin and their OCD attention to detail, but where Mann (and to a lesser extent Friedkin) are dedicated to hyper-realism, Cameron's obsession, like that of Ridley Scott, compliments his singular vision, realism be…

She's tough, organized…she can even balance her checkbook!