Double entendres are the main reason for that film's existence.  God, what a depressing comedy.

Double entendres are the main reason for that film's existence.  God, what a depressing comedy.

This dates me, but I heard it regarding Jane Mansfield.

This dates me, but I heard it regarding Jane Mansfield.

Matt Groening did a LIFE IN HELL strip anthologizing nasty kids school yard songs.  What was amazing about it was, although we went to school in different parts of the country, I remembered all of the words and melodies.

Matt Groening did a LIFE IN HELL strip anthologizing nasty kids school yard songs.  What was amazing about it was, although we went to school in different parts of the country, I remembered all of the words and melodies.

Tasha—If you thought ICE PIRATES was smutty, catch the European version of THE PERILS OF GWENDOLYN.

Tasha—If you thought ICE PIRATES was smutty, catch the European version of THE PERILS OF GWENDOLYN.

A large part of this issue probably lies in the fact that his movies are required to get a PG-13 rating, so action sequences has to be shot and edited in a particular way that minimizes the physical impact on the body.  To see how Nolan might choreograph fight choreography, he'll have to convince the studio to give…

A large part of this issue probably lies in the fact that his movies are required to get a PG-13 rating, so action sequences has to be shot and edited in a particular way that minimizes the physical impact on the body.  To see how Nolan might choreograph fight choreography, he'll have to convince the studio to give…

The big problem to me in TDK was that the editing, in its frenetic energy, missed the dramatic beats that would have made the hero's actions, particularly at the end, effective on an emotional level.

The big problem to me in TDK was that the editing, in its frenetic energy, missed the dramatic beats that would have made the hero's actions, particularly at the end, effective on an emotional level.

I agree.  The showiness of the film's structure is ultimately the most effective way of placing the viewer in the protagonists P.O.V., as well as the best way to maximize the story's pay off.

I agree.  The showiness of the film's structure is ultimately the most effective way of placing the viewer in the protagonists P.O.V., as well as the best way to maximize the story's pay off.

As I said at about the same time you wrote this, the film's lack of visual virtuosity works on a certain level here, whereas with his other movies perhaps not so much.

As I said at about the same time you wrote this, the film's lack of visual virtuosity works on a certain level here, whereas with his other movies perhaps not so much.

I've read several criticisms, as alluded to above, that this film's visual palette is on the pedestrian side, but it works to a certain extent because the imagery lacks distinction.  Leonard's condition seems perfectly illustrated by the fact that he wanders through a cityscape devoid of identifying signifiers…

I've read several criticisms, as alluded to above, that this film's visual palette is on the pedestrian side, but it works to a certain extent because the imagery lacks distinction.  Leonard's condition seems perfectly illustrated by the fact that he wanders through a cityscape devoid of identifying signifiers…

MEDIUM COOL would have been a nice addition, but I don't know what I'd remove to fit it in.

MEDIUM COOL would have been a nice addition, but I don't know what I'd remove to fit it in.