I was mostly joking, friend. I actually like a lot of his movies and unironcially love The Negotiator.

This feels like the plot of a lost Christopher Guest movie.

It's been fun watching people struggling to try and argue that F Gary Gray is a great director over the past couple weeks.

I could see what he was trying to do but it was ten pounds of movie in a five-pound bag.

The best parts of the movie where Hardy vs Pearce, which at their best evoked a slightly meaner version of Justified. Then Shia Beef Burrito would spend another ten minutes trying to romance Crimson Peak girl and I'd wonder what the fuck Hillcoat though he was doing or who this movie was for.

I'd put The Big Short over The Martian, Brooklyn AND Room.

It felt like a bad adaptation of a book where elements were just crammed in without rhyme or reason and none of it fit together.

I honestly can't tell if this is a joke or not.

O-KAY!

I totally get what you're saying, but I like enough small parts of it that I'll keep going I guess.

The 2nd episode was a marked improvement over the first at least. Bobby Cannavale got to actually act instead of stare off into the middle distance for 2 hours because "mid-life malaise, bro."

Lawless felt caught between gritty pulp and a History Channel special about moonshine. Every time shit would get real the story would slow down so we could have ten minutes of voice-over about the town and the local gangs and everyone's various love interests. The pacing never matched the story.

What?

I'm not sure what's going on with her gigantic poodle hair in this, but it's an…interesting costuming choice.

Kingsman was awesome and I'd like to see Taron Egerton in more work. I was a little sad that his character in Legend was basically set-dressing, but this looks like a meatier role for him.

The trailers for this seemed to betray how overstuffed Dowd makes this sound. I couldn't tell if this was about dirty cops robbing banks, or Russian mobsters, or dead cops in general? I'm surpised that the normally languid Hillcoat would take on all this material, but honestly the idea of him making a movie so filled…

I totally get that It's something to be aware of but the conversation always turns into the mathematics of minority representation as though that matters more then story or artistic intent.

What's the exact percentage? What's the pie chart before stories can do what they want without being problematic?

And it's the job of art to be 100% all-inclusive to everyone at all times?

It happens to all the white characters too. The only way this works is if the few black characters are protected from bad things happening and thus become tokens.