The pretzel logic involved in entrapping Ernesto by preying on his loyalties and then actually firing him for doing exactly what the plan required to work is pretty extraordinary.

It's grown on me. I think they were in an awkward spot: the original is their marquee song but is probably not that interesting to play live, especially with a full band. The single version solves that, and I kinda like it now, though I wish he'd have thrown in a new clause in the song title.

It's almost like you… haven't listened to Car Seat Headrest!

My state would probably have an easier time spelling 'canceled' if they used the American version, anyway.

Sounded like a lot of money!

As much as I appreciate the instinct and logic behind the name change, I do wonder if 'AJJ' isn't a bit of a cop-out. Nobody who listened to the band before is going to look at 'AJJ' and think anything but 'Andrew Jackson Jihad,' and I'm reminded of Louis CK's bit about 'the n-word.' You're making ME say it, Sean!

This was a straight A and you know that.

If you're looking for a glowing summary of the plot of a movie, might I recommend contacting your local theater for some press release materials?

@Erik Adams: So glad to finally see someone else have that problem.

Yawn. Just the two best episodes of a lackluster season getting the two worst grades. Nothing to see here, folks.

God, shut up.

Hey, just a compliment for you: you're a seriously impressive writer, which can actually be a dangerous quality in a reviewer because it makes even the movies you savage seem worthy of attention. I'm also enjoying the anti-grump backlash that comes when a reviewer doesn't indiscriminately hand out A-pluses and instead…

Finally, a band of people cooler than me fronted by a guy wearing an ironic D.A.R.E. t-shirt.

Yeah but having one or the other helps. The script I'm less concerned with than the overrated performances by Cranston (little more than an accent), Brooks (where I'm aware that I'm in the minority, but he never came off as even vaguely threatening) and, unfortunately, Gosling, who left too much off the page for once.

Well, there's the lily-white portrait of Los Angeles, the (film's only) man of color being punished for daring to despoil a white woman (but only after being thoroughly emasculated by Gosling's display of White Male Competence), and sure, the broad-strokes anti-Semitism didn't help much either. (Jews! In a mob! They…

I hope enough people eventually watch Drive again and realize it wasn't that good to begin with. The performances are average, the script is incredibly stilted, and it's nice and carte-blanche racist to boot. But hey, the title font and soundtrack were pretty cool!

Two words: Adam Sandler.

Really? No mention of Funny People? For shame.

About time to recuse yourself, I think.

Ding-a-ling-a-ling.