Yeah, Psych is genuinely underrated.

He already revealed it to that waitress last episode. I kept expecting her to show up in the diner scene.

I don't understand how you can NOT like William Demerest. Holy shit. And he gets off maybe the funniest bit of dialogue in the whole movie: "They're a mess no matter how you look at 'em, a headache 'til they get married, if they get married and after that they get worse. Either they leave their husbands and come…

I wouldn't call Beautiful Blonde awful. There's funny shit in it, particularly at the beginning, but it does run out of steam. I taped a copy off of AMC about a decade ago, so it turns up once in a while, but The French… is almost completely impossible to see.

Yeah, suck it, Handlen. "I'm not a huge fan of Richard Kind" just angries up the blood.

"Now we still don't have a gym because of last year's diarrhea flood" made me choke on my drink.

Lauren
Her character is barely in the episode, but she actually serves a necessary plot function. She foists Michael's help onto a reluctant David. Without that setup, you couldn't plausibly get to what you claimed to like most about the episode, "how David really didn't want all that much to do with Michael,"…

What Planet Are You From?
I know the AV Club likes to take a shit on this movie, as did every critic when it came out, but I saw it on cable two years ago and, overly bathetic ending aside, it was surprisingly funny. Major directors have made worse movies.

While we're nitpicking grammar, it's Weisz's and Aronofsky's "first collaboration since The Fountain," and their second overall. Were you afraid of being accused of firsties in the article, Michelle?

Sounds like Riding the Rap.

*HUGE SPOILERS* Not Scott, but that was my take, yeah. She was the vessel for the Antichrist, she tried to circumvent it via a suicide, but both she and the fetus lived, so we're all screwed.

Yeah, the sound films, often with Jimmy Durante, are really mediocre, but The Cameraman (which is silent) is genuinely great, and in many ways comparable to Sherlock Jr as a proto-surrealist exploration of film itself. It also slayed the audience more than any of the other films of his I caught at a revival screening…

I've been quoting the "hammered shit" line for years. It always makes me smile.

I'm glad Nabin asked him about the Tom Waits episode. It's the only one I really remember when I caught the reruns on Nick at Nite as a kid. Now that I'm older and actually a Waits fan, I realize it's a great appearance. I think the best part was when he tried to borrow money from Mull at the end.

It is common to eat live seafood in Korea, but they usually cut it up first, like in Bourdain, so it's moving, but essentially dead. Biting into a whole squid like in Oldboy is A) a good way to break your teeth, what with the beak, and B) still kinda bugfuck. But yeah, it does take the punch out a little.

Tibber, I agree about the wake scene. The cumulative effect of the movie was so powerful, though, that I'd rank it close to AK's best. His great weakness is heavy-handed didacticism, though, followed closely by chilly formalism, which I see more in the samurai films than the contemporary ones. For what it's worth.

Yeah. Has a huge dick, BTW.

Also, like Bob LaRice, I prefer Kurosawa's contemporary films to his samurai ones. So, yeah, Ikiru, and more importantly High and fucking Low.

I know that was in jest, Binky, but you just described this insanely-great alternate-reality version of Kurosawa's filmography. It's almost depressing that it doesn't exist.

Yeah, I think we're on the same page, urgh. The digressions that everybody complains about are the real heart and source of style in the book. Often very funny, also often very poetic, and cumulatively very tragic. I dated a girl once who said it would've been a "good novella" without the digressive asides about…