I'm in agreement on this, and normally, I'd prefer the "boring arthouse movie". And yes, it's vague, but at least Barry Newman gives the impression of having something going on underneath. James Taylor and Dennis Wilson in Two-Lane Blacktop seem like they just woke up in the morning every time they have to do a take.…

That's a little unfair. I liked Joan's accordion playing, and Pete's actually a good dancer.

So, Mad Men; what drugs are the writers on, and where can I get them? Cause these last two episodes have been off-the-charts insane. Maybe this is Matt Weiner's twisted way of reproducing the chaos of the 60's, by making the show look like it's being created on drugs? Otherwise, I got nothing.

Favorite: The Terrence Stamp/John Hurt gangster movie The Hit. You'd think it wouldn't work - what starts out as a revenge drama, as a gangster in hiding gets captured by two hitman who intend to bring him back to their boss, becomes instead a road movie and an existential drama about facing death - but it does.

As much as I love All About Eve, I wouldn't call it a bait-and-switch. When you watch it again, you see Mankiewicz has set up pretty early what's going on with Eve.

Apparently, there's a Canadian movie called Crimewave as well, because when I lived in Canada many moons ago, one of the stations would advertise showing the Sam Raimi/Coen Brothers movie, but would show the Canadian one instead, which pissed me off.

"All roads lead to Munich." What the fuck does that mean?

One of my favorite routines of Newhart's was "Ledge Psychology", where he's a policeman trying to talk someone out of jumping from the top of a building by basically acting like they don't care. "You thinking of jumping, are you? First time, is it?"

The preview for "The Blacklist" makes it look completely rote. On the other hand, it also looks like they gave James Spader leave to do whatever the hell he wanted, so that might be enough reason to watch. Maybe.

Yes. I didn't hate the movie as much as others above did, but the puke-green color motif was distracting as hell.

The one without the gannet?

I'd keep:

The "standing up to a teacher" bit; is that the part where the teacher says Nixon was an innocent man hounded from office, and Cryer's like, "No he wasn't; I was there!" Cause that's the only thing I remember from the movie (well, that and Annabeth Gish, cause I had a crush on her at the time).

I haven't seen it in a long time. I remember it didn't quite work for me, but there were funny things in it.

Though I sympathize with Fields and Weisberg's befuddlement about getting more flak for Philip sleeping around than for killing people - reminds me of when the same thing happened with "The Sopranos" - that's not why I dislike the Philip/Martha scenes. Admittedly, one of the reasons is personal; I find Philip's…

Here's the thing I think is easy to forget about Don, and maybe this is why Weiner & company keep showing us flashbacks of Dick Whitman; Don knows what it's like to have nothing. Peggy and Ginsberg (and possibly Joan; I don't know for sure) came from lower class backgrounds, it's true, but none of them grew up dirt…

Oh, I agree with that. It's just, like Genevieve, I'm not entirely sure.

I'm not entirely sure Stan was the one who shot Elizabeth; they passed through some crossfire as they were driving past the FBI agents. I think one of them might have been the ones to get her (and yes, I know there were no other visible bullet holes in the car, but it doesn't make any sense otherwise, I think).

See, I think the same thing happened in "The Grown-Ups" that happened here, it just happened on a different scale. I mean, yes, there was a more uniform reaction of shock (because, much as we may be tired of hearing about it, it really was the type of thing people thought Couldn't Happen Here), but just like in this…

Again, I say, what about Emmylou Harris?