Your last point regarding the avoidance of focusing on the bulk of the careers of superheroes as crime fighters is probably because those stories just aren't very interesting for a film. Those types of serial stories play better over a comic book or television show. Both DC and Marvel should work on developing more of…

The review in The Atlantic pointed out an interesting twist on this: "In a neat inversion, what makes this savior-to-be special is that Krypton grows most of its children artificially and Kal-El, by contrast, was the product of the planet's first "natural" birth in centuries—i.e., his is a uniquely non-immaculate…

Plot holes exist when a story isn't adhering to it's own internal logic. If you have issues with fantastical plot elements you should stop reading/watching fiction altogether.

From what I saw he couldn't even respond to what was happening in time to save anyone. Zod was an equal threat. Any attempt to save people would have been a distraction from the task at hand. I thought the situation you described was playing out even if it wasn't clearly illustrated. Zod told him that for every human…

They should have ended the movie with him starting a blog and working his way to the top (of a dying industry).

It would have been hard for him to go to college without a social security number.

This is significantly better than Wolverine. And it doesn't depart from the way Superman has been portrayed in the past too drastically. Do yourself a favor and catch a matinee showing.

Do you post this every time someone disagrees with you? My point was that "shameful" is a strong word to use to describe someone's criticism of a remake (specifically if said person was involved in the original). That's cool that you liked it. I think it was garbage. Do you want to have a discussion about its merits…

He would look more petty and egotistical if he were wrong. But he's not. That movie was a piece of shit. I'm not sure if you are trying to protect Gene Wilder's public image (which he seems to not give a shit about) or if you are trying make sure that Tim Burton's Charlie And The Chocolate Factory has a fair chance at…

I think his point is that Tim Burton is a director whose work fails to rise above its commercial nature to become something one might call art. don't get me wrong, I really dig Edward Scissorhands and Ed Wood. But Burton has earned his place in history as a director-for-hire with his tendency to fall back on…

Shameful? That's pretty strong. That movie was garbage. It's not like he's shitting on one of those remakes that are treasured pieces of art that define their era and expand our idea of what a film can be. You know like that one remake that was in 3D with all the attractive young actors and a twitter reference.

I don't really see what this show is getting from Seinfeld, explicitly or stylistically.

I was also going to bring up Vertigo. Peckinpah would also seem to be a refutation of this theory, as anything that wasn't personal was basically a disaster.

It would help your argument if, rather than tell us that there are subtle themes and symbols, you explain what they are. I'm not trying to be a dick. But you and this article both seem to be suggesting it is complex and has some depth, but I don't see much evidence supporting that argument.

6 paragraphs slamming it followed by a half sentence calling it "art." You should consider changing the name of this feature to "Don't Ever Fucking Watch This."

Working as a cashier in fast food is something no one aspires to and it is generally forced out of economic circumstances. I imagine it also pays significantly less. What is the point of this conversation? Jobs suck? Agreed. I'm going fishing.

Oh man, I posted my comment in the wrong place. From above: "Pink Rabbits" is my favorite song on the album. So many great lines. And the emotional peaks and valleys are more pronounced than any other point on the album. Compare the third verse of "I was solid gold, I was in the fight" to 30 seconds later "You didn't…

"Pink Rabbits" is my favorite song on the album. So many great lines. And the emotional peaks and valleys are more pronounced than any other point on the album. Compare the third verse of "I was solid gold, I was in the fight" to 30 seconds later "You didn't see me I was falling apart, I was a white girl in the crowd…

Mute Michael Scott was the least of the episodes problems, but probably its most obvious one. The ending of The Office was almost identical to the end of The Office Retrospective that ran immediately before it. 15 minutes of talking head interviews high-fiving the show for being significant. It was like the writers…

I could see an argument for Fargo being an existentialist film. Or, more accurately, that Marge is an absurdist hero, going to work in the face of inevitable death and uncertainty, and insisting on continuing with life (carrying a child) and trying to find joy in things like family and kindness. But the fact that they…