Not to mention the killer has, like, one of those ridiculous motivations that only exist in bad movies: He killed because he wanted Clint Eastwood to solve the crimes and be a hero again. Sure buddy.

Oh.

I mean, you basically say in your review that the only interesting part of the movie is the twist. What else are we supposed to be discussing? How Naomi Watts ended up in this terrible movie?

Yeah, I didn't want to see this in the first place, but now I'm all curious.

Yeah, there's no way "Tom" exists, at least not in the traditional sense.

::SPOILERS FOR A 14-YEAR OLD MOVIE NOBODY CARES ABOUT::

Yeah, it's definitely got something to do with Catatonic Son. There's no other reason for him to be in the movie. Is he doing some psychic projection thing to terrorize his mother because she did something horrible to him in the past? Is he trying to warn her about something? Is he just a dick who's bored being…

This is the only technique I use anymore. Works great; it's delicious.

As much as I want to try to apply some sort of logic to this, it just seems like bad storytelling. There's no reason for any of the spirits to hesitate; Lee and Aubrey should be dead. Also, why does it take the Roanoke spirits so damn long to get inside the house? There's a whole mob of them, and they've done this…

I don't think Lee would just confess to Mason's murder for Flora's sake, considering that the whole reason she came back to the show and subjected herself to crazy danger was supposedly to clear her name.

I can't help but feel like Murphy et al are trying to for a kind of hamfisted "Who are the real monsters??" message here. Sure, the Butcher and Co., will kill you if you try to take their land, their myriad victims will haunt and/or kill you because they're pissed off ghosts, and the Polks will kill and eat you…

It was an OK episode. Not the best, not the worst. I get the point of the Polk stuff, but it does read as a straight-up Texas Chainsaw Massacre riff. They're disgusting, inbred, deformed, stupid, cannibals… I mean, there's nothing new there.

It was just such a visceral shock. I was sitting down on my couch and suddenly I was standing up in shock. Such a well-crafted moment. The only time I remember being that scared was at the final scare in Carrie, which just destroyed me.

Sinister is fantastic except for the design of the Bughuul, which skews a little spooky Halloween mask/demon Al Jourgensen for me. I mean, when Ethan Hawke watches the cut endings of the films, in particular the lawn mower one… that gave me an actual physical jolt. That and the first time in The Descent when the first…

Wow, I really stepped in it, huh? Apologies all round for not conducting an exhaustive survey of the world's collective thought on the topic before posting.

Thanks, I'll check it out.

Ok, this is maybe neither here nor there, but it's something I've been thinking about.

Yeah, that one really freaked me out too. I remember it with a startling music cue, but I might be wrong. I tend be able to tolerate jump scares a lot better with the sound off.

The whole Brit Awards tribute just radiated class and emotion, from Annie Lennox to Gary Oldman to Lorde's performance. Class and emotion were two things sorely missing from Gaga's tribute.

I didn't care for Gaga's tribute because it felt exactly like what it was: an Intel commercial with a Bowie tribute tacked onto it. Sure, it was technologically impressive, but the need to show off the tech overshadowed the songs. I feel badly that she tried something that probably meant a lot to her and came up…