I show both the Japanese version and the American version back to back in my horror class; in past years, students have enjoyed discussing the different kinds of dread each film elicits. For all of its awkward Burr scenes (which, by the way, are not even remotely Zemeckis-style), King of the Monsters benefits from…

I'm all for Hulk smashing things; but it would help if I cared about what was doing the smashing and why the smashing was occurring.

As long as it keeps the beaches open, yes.

Why do you think "it is clear"? He didn't seem to be slumming to me — he took the material a lot more seriously than others have.

I don't know if it's fair to say they're all just boring wish fulfillment fantasies. The first Captain America is about patriotism and war (Steve becomes a hero not via the super-soldier serum but by defying orders and rescuing soldiers fighting for their country; Red Skull's villainy leads him to turn his back on…

Father Banner is for all intents and purposes the Absorbing Man. They tumble around northern California for a bit before Hulk overloads AM with too much gamma radiation, causing him to explode.

The end is definitely the weakest part of the film. The confrontation between Nolte and Bana plays like crappy community theater, and the Hulk/Absorbing Man fight is just too cartoony to sustain any drama. It has some interesting images — Hulk trapped in thunderclouds as AM zaps him with lightning — but it needs more…

It isn't a superhero movie — if I recall, Lee and Schamus have described it as a throwback to the Universal monster films of the 1930s and 1940s.

Lee's version of the Hulk remains the most compelling, though that isn't saying much: it's primary competition are the ludicrous Leterrier film (in which Hulk looks plastic and swings through Harlem like Spider-man) and the few scenes where he appears, more or less as a brick, in Avengers. Lee, somewhat following…

No, it's not bad — an attempt to make a Universal horror film into a comic book. It wasn't entirely successful, especially at the end, but it's better than the FF films, two of the Raimi Spider-man films, the Webb Spider-man and certainly the Leterrier Incredible Hulk.

I don't know that Lohan has the emotional make-up to do as Drew Barrymore did, or the support network.

At what — acting? Her best performance remains E.T. She is embarrassingly bad in Donnie Darko and passably adorable in everything else. She has a fairly good track record as producer but she hasn't inherited Lionel's, Ethel's or John's acting ability.

It's a list where gender doesn't matter, yet it's all male. The compilers of the list need not have had any sexist intent; all the same, their list has no women. Sexism is an effect as much as a deliberate bias.

God what a silly post. There's absolutely no need to assume the original poster meant that the article needed some quota about gender. S/he might merely have been pointing out that the article, like a lot of such lists, ignores the contributions of women or that women were worthy of inclusion in such a list.

I don't recall the scene as being a reconciliation, but rather Bullock's narcissistic character realizing she is alone and reaching out to the one person who is usually around. My memory (and I haven't seen the film since it first came out) is that the housekeeper has a befuddled look on her face and comforts Bullock…

Except Pasolini didn't necessarily think that said hopeless contamination was necessarily a bad thing. Given how much of his filmic work (including theory) were devoted to reanimating mythologies and that Pasolini intended to make a film about Paul, the matter was far more complicated than you (or Snidely) seem to…

Pasolini also maintained a deep belief in myth as a powerful force, and
was drawn to the Gospel According to Matthew because of its mythic
quality. But perhaps this quote — given during a press conference for
Il Vangelo — best sums his attitude towards religion
and faith:

It is an excellent but very difficult film. Pasolini's aesthetic was anti-naturalistic, so a lot of the violence in the film has a deliberately stylized/fake (for want of a better word) quality to it. Thematically, it is a powerful critique of consumerism.

Except Page and Bonham both wanted the next Zeppelin album to be very much different than In Through the Out Door. Also, ITtOD is much better than Hot Space ("In the Evening," "Fool in the Rain," "All My Love," "I'm Gonna Crawl").

The Who is a different band — for all intents and purposes an extension of Pete Townshend. It's not particularly fair to compare them to Zeppelin.