Fucking Nintendo Game, etc.
Anyone else remember that damned Nintendo Star Trek game, where the point was that the communicator allowed the Iotians to become starship capable in a few years, and they start blasting their way through the galaxy? The crew has to go back in time to just after they left the planet to get…

Fucking Nintendo Game, etc.
Anyone else remember that damned Nintendo Star Trek game, where the point was that the communicator allowed the Iotians to become starship capable in a few years, and they start blasting their way through the galaxy? The crew has to go back in time to just after they left the planet to get…

Eraserhead is about male postpartum depression, I believe. It works extremely well at that, if you know enough about it. I actually have written a comedy sketch about Lynch's "optimistic advice to the point of madness" call-in interviews. All I need's a comedy team.

"Putting out Fires with Gasoline" was playing in Michael Scott's Cafe Disco on The Office, which means he either owns Let's Dance — likely — or a Bowie singles collection — more likely. That idea alone adds depth to his character.

Try listening to Lynch on call-in shows, such as when he's on NPR. He almost never answers the questions put to him, but just says incredibly optimistic, encouraging words to whomever's on the line until the time's up. It's like he's figured out a way to avoid answers by just being incredibly nice.

Hey, Tarkovsky's AD, Tarkovsky himself said that Solaris was a response to 2001's perceived anti-emotionalism. He just wanted space to look junky and people to act like they're human beings, unlike Kubrick's film. Other than that, Stalker is the film that deals with the same themes. Nice use of Lecture XIV, though.…

Solaris is Tarkovsky's response to what he felt was the cold, unemotional nature of 2001 (way to not read the subtext, one-of-the-greatest-filmmakers-of-all-time). Remember that Tarkovsky had a philosophy about the way time is expressed on screen. He lived for the long take, since that was the only way to express…

Yeah, but Heath Ledger and Julia Stiles really make the movie work — when it does. They seem so much "realer" than the other characters in the film, that I wanted Ledger's character to simply tell Stiles what was up so they could take the guy's money and have some fun. But cliche avoidance in a teen movie? This ain't…

He Left Home
Without It. His life, that is.

Sir…
… Jon and Kate are never worth a Sex Pistols reference — regardless of the validity of it. That's like using Artaud to criticize The World According to Jim.

You're out of your fucking mind. Do the Right Thing is one of the greatest films of all time. Goddamned right. I could watch the scene where Da Mayor tells Mother Sister a story after she compliments him and the street light "blinks" on in the background to indicate both the change to night and the beginning of a…

Strange Days needed a better ending, or at least one that didn't feel the need to drag it out so much. Up until the last 20 minutes, it's a damned great film.

The first quarter of the first season was the best.

Well, that got better and better as it went. Kudos, Simpson family.

Yeah, I'm awestruck by the inclusion of the awesome Darkman to this canon, as well.

So we're all agreed that Cars is the worst of the Pixar films by far. It's certainly the most commercially calculated one of the bunch, which is the main reason I don't like it.

Chareth is the cute one.

For all their bulk, The War Machines are also pretty effective, given the budget limitations. I always thought the L3 looked cool, but was pretty much a pushover. Well, it fell over, in any case.

Well, the aptly named Robots of Death would work just fine as a Doctor Who entry. Nothing like the friendly voice of a robot telling you it has to kill you because, well, that's what it's programmed to do. And their voices stay nice and friendly the entire time it's doing so. Creepy as fuck.

Man, I have to got to stop typing so fast.