But the show has never before so blatantly pandered to a junior high demographic. Even during the Farley-Sandler-Spade era, when the humor became more determinedly lowbrow, they'd still book the likes of John Goodman and Steve Martin as guest hosts, not because they were popular with the kids but because they were,…

Or even worse—Leighton Meester is her own musical guest.

I dunno, smm, it seemed like the newly-shot footage of Holmes (especially when he visited his old housing project) felt very much like a Maysles film in the old school tradition, and the talking head segments were necessary to put the whole thing in context. If anything, I wish this film had been longer.

Is the battle with Kali one of the greatest things ever put on film?
Yes. Of course it is.

Really, Anonymousetrap? That's what you take away from Sellers' entire career? Clearly he's not enacting a racial slur in Fu Manchu—he's making fun of it. The whole movie is a parody of an admittedly racist construct.

Fine, but at least I have a copy of that damned Fu Manchu movie. And I'm laughing, dammit!

Am I alone in thinking Sellers is funny as Fu Manchu?

Yeah, she and Harvey Korman both seem to be actively trying to elevate this to the level of…something. No matter what they were given, no matter what surrounded them, they were never less than professional.

But can we all agree that "Dubliners" is fucking awesome?

Not to totally geek out here or anything (because, really, is anything sadder than geeking out over cinematography?), but I actually think Cardiff's late-period work on the likes of Rambo is nearly as fine as his work with Powell and Pressburger. In a different way, of course, but his clean, easily-read imagery in…

Let me amend that previous comment…
I was referring specifically to the cover of Legend. I would have just commented on the comment itself, but for some reason it wouldn't let me do that.

Legit Claim To Fame
Say what you will about Poco's music, but the cover is absolutely beautiful. Phil Hartman designed it and drew the picture of that horse, and it's just one more reason to miss him.

I had The Phantom Tollbooth on CED disc, the miracle format destined to revolutionize the home viewing experience forever. It had the same fuzzy picture quality as VHS, but without the ability to record anything. Plus it could only store an hour's worth of programming per side.

Any mention of Clive Gregson prompts me to mention the wonderful albums he recorded with Christine Collister. Not remotely power pop, but I couldn't resist bringing them up.

That entire first season of Crime Story—where seemingly random story threads would turn out to be major plotlines, where every single character was memorable, with acting on a level you just didn't see on TV at that time—was unrivaled in its awesomeness. Unfortunately, by the second season, Wiseguy had pilfered most…

Any program that ran as long as MASH would inevitably go through cast changes, but the problem with that show was the total change of tone. The first season tried to stay close to the feel of the movie, the next three or four seasons felt like Altman mixed with Neil Simon, then around season five or six, it became…

I just want to back up Tibber's original point: Man, did later-period episodes of MASH suck.

Vague Memory is clearly the best thing Crenshaw ever did.