Taking a cue from this film, how does everyone organize their pop culture collections…be they games, albums, books or movies?

Blomkvist is a tool, but Lisbeth would be considered punk wouldn't she?

Oh I'm betting Olivia's fingers were firmly crossed when she said that. That and I wish there was a sarcasm meter to rate what she said. I bet that baby would've been off the charts!

Woody's 80s run is pretty solid, if a bit repetitious (New York intellectual deal with first world problems)…Altman, Hitch and the Archers win not only for the uniform quality of their output, but also with their willingness to experiment and do something different with each new film. Even Hitch, who revisited themes…

The film definitely weakened my opinion of Fincher. He's just so precise that his films become oppressive. There's nary a camera jiggle nor a spec of dust and it's all so precise and airless and inhuman, when the Dragon Tattoo novels cry out for dirt and grit and messiness and humanity in all its forms. It's the…

I will give it credit for the marketing campaign. It was pretty brilliant, the way they "leaked" the first trailer to make it look like some surreptitiously filmed it with a cellphone. And the tagline was priceless: "The Feel Bad Movie of Christmas."

Yeah that was a big ass stretch that he finds not one, but three photographs containing enough evidence to catch the killer in a lie. I found Lisbeth's route to the solution far more plausible.

Totally agree with you. Blomkvist is such a thinly veiled analog for Larsson and all his fantasies about being a crimefighting reporting who beds women young and old (and nurses a decent leather fetish), he might as well've called the character Steve Carsson.

Or an overweight hacker on welfare.

Here's hoping he does what Larsson should've done…kill off Blomkvist. He's such a tool, and Lisbeth is the heart of this series.

Yeah some years are tricky because of strong lineups marred by exclusions. '57 is a hell of a year, with Witness for the Prosecution, 12 Angry Men, Bridge on the RIver Kwai and Sayonara, but marred by the inclusion of Peyton Place at the expense of, oh, Paths to Glory or the Sweet Smell of Success.

I agree with you Altman isn't on Kubrick's level. He's a step or two higher.

PT was also Altman's AD/understudy on "A Prairie Home Companion." He knew he was dying by then, and in case he was unable to finish the film, Anderson was there to pick up where he left off. So there was evidently some mutual respect there.

Yeah they're pretty diametrically opposed. I don't want to make the mistake others have by saying Kubrick is misanthropic, but he's definitely less interested in human individuality than Altman who was about as strongly humanistic as a filmmaker can get.

I want to like Kubrick more but he's just not prolific enough for me. My favorite directors all have a common thread, namely they were prolific as hell…Hitchcock and Altman were doing a pic a year, sometimes more. John Ford averaged more than that, and his creative output from '39 to '41 is downright sick.

Blame the fanboys who about stormed the Kodak theater singing La Marseillaise when "The Dark Knight" got passed over for a nomination.

Surely one of the greatest creative runs by a filmmaker, rivaled only perhaps by the output of the Archers from '41-51, or Hitchcock from, well, hell, pick your decade there.

There were some other amazing years…sidestepping for a moment the years where there were ten nominees (such as 41 and 39, arguably the greatest year for movies), you have in '46: The Best Years of Our Lives, the Razor's Edge, It's A Wonderful LIfe, Henry V and The Yearling.

Hard to argue with you there, though my personal favorite is "McCabe & Mrs. Miller." I think it's the best photographed film of the decade, and the best film of the decade. Period.

Though for my money I'd have picked "My Idaho Home" for the win.