What makes me think it's a screenwriting error and not a character moment is that, if the latter, they'd need to rely on the audience recognizing it's a error, since the film doesn't point it out. I wouldn't think Evil Dead II/Army of Darkness are films that people know inside-out, well enough to realize Barry's…

It's actually the sort of factual error that can be difficult to catch. It's easy to blend Evil Dead II and Army of Darkness together, so once you have in your head that something comes from Evil Dead, it's easy to fail to step back and making sure the reference is to the proper film.

I'd say that the end of the film is pretty pessimistic about Rob and Laura working out, which is one of the things I really liked about it.

Didn't Hall throw some shit at Oates a few years back, saying he did all the hard work in the band and Oates was just a session player?

TIME

I strongly disagree with this. For one thing, class played a major role in this (the Ramsey's were not considered the kind of people who would murder their daughter). The case can also be easily put in the context of women (and/or children) in the media, fame, or an In The Dark-type look at how poorly trained police…

I mean, I think would be a great story for a version of American Crime Story or something. But this looks like it was conceived from an idea cooked up in a dorm at 3 A.M.

I'd guardedly disagree with your first two paragraphs, although it's an angle I haven't considered before. My experience of the Bennett, swing etc revivals was that they didn't have anything to do with re-evaluating pre-Boomer cultures, but that they were approached ironically or were adopted by people who were not…

John Kruk held his own against DeNiro and Wesley Snipes in The Fan.

Genius Club is my favorite evangelical hatewatch film, and I learned of it from one of the all-time great AV Club writeups, courtesy Leonard Pierce:

Me neither, and I don't think it would have worked so I'm glad it didn't happen.

Sit your five-dollar ass down before I make change!

Yep.

I've said somewhere in these comments sections that it's a film made by people who had only been to a Tower Records.

I'd agree with Slacker and Clueless, each of which captures one half of the decade. Other than maybe Clerks, Slacker captures the early 90s most perfectly, particularly that sense that a younger generation was supposed to be taking over but the boomers wouldn't leave the stage, while the youngs were forming…

It does. A lot of 90s popular culture is backwards-looking*, and that might be the defining trait of the decade. Even the Internet seemed to incline people towards nostalgia rather than The New.

I agree!

Small backpacks were/are the worst.

I hate Smashing Pumpkins. Which evokes its own kind of 90s nostalgia.

The video looks extremely 90s. The ironically-colored childish-looking set intercut with black-and-white shots of short-skirted chick in customary suit of solemn black being all 'I don't care' sums up the entirety of 90s visual aesthetics in four minutes (although I grant they could have moved the camera more.)