Todd's video clearly inspired the thieves to go and steal from the band.

It's that too, but the approach to the characters and story is all melodrama:  big emotions, fairly straightforward characters, a complete absence of irony, etc.

Miller's issues predate 9/11.  He started published Sin City in 1991, and that work, however much it attracted acclaim, game to define both his art and story sensibilities.

If they were going to try and hide that she's playing Sharon (because from what they say, she's clearly introduced while in disguise), they shouldn't have announced her as "Agent 13" in the press release for the movie.

Technical innovations to the war movie (which are admittedly quite good; Spielberg deservedly won Best Director for that) are its lasting legacy.  SIL wasn't a major innovator, it was just a great movie.

I'd be lying if I said I wasn't glad this movie was made, because I am really interested in seeing some resolution for the characters, but is there really a larger commercial sense in making this?  Veronica Mars was a great show with a cult following, but what kind of audience is it going to attract ten years later?

He's Wallace's date, obviously.

I find an imaginative story about the Renaissance theatre more interesting than a pretty standard "men on a mission" story.

which the film is expected to borrow from.

This movie (or the reaction to it) also inspired Allen's generally annoying Stardust Memories, whose sole funny moment was people constantly telling Allen that they prefer his "early, funny" movies.

Parodying suburbia is a genre of the art film that I think really needs to be retired (particularly if it's set in the 1950s).  There's very little new to be said about it, and ever film that does it seems to think they're saying something revelatory.

Shakespeare in Love is a terrific comedy with one of the most literate, intelligent screenplays in its era (and certainly among the ones that won the Oscar).  I would easily have picked it over Ryan, which is technically innovative, but a far less interesting story.

One of the funny things about that parody is that nobody watching that today would have any idea what it's a parody of.

Titanic is a really great melodrama, a genre that's largely fallen out of favour.

Brendan Gleeson, who's still in the movie as Wallace's friend.

I've debated whether the worst thing about Snow White's "inspiring speech" in that movie is the text of the speech itself, the context in which it's delivered, or the way Stewart delivers it.

I love Colonel Blimp.  The depiction of Theo is particularly remarkable, given that it was made in the middle of World War II (apparently the actor who played him was personally confronted by an angry Winston Churchill about it).

Apocalypse Now (theatrical version):  Most of this film is of pretty high quality. The helicopter attack sequence is deservedly iconic. The movie's cinematography is superb. But then we actually get to Colonel Kurtz's compound, and this sequence pretty much derails the movie. As Hearts of Darkness makes painfully…

@WrongSirWrong:disqus , Diana's in the JLA, per usual.  It's notionally in the same continuity as this title, but the two haven't touched on each other at all (there's no sign of Diana dating Superman, for instance, as this review noted).

There's a very reliable trend in Wonder Woman's comics:  every writer's run will do token stories with some combination of Cheetah, Ares, Circe, and maybe Dr. Psycho, and then fill out of the rest with cameos and new villains who none of the later writers will ever use.  Also, when using the established villains, they…