Thanks, all. I'll miss writing this column and all the chatter that came out of it.

Thanks. I'll take the Scobias nickname with me, much as Genevieve Koski wants Scottaloo (a reference to my daughter's My Little Pony-watching) to stick.

I'm very much alive, though there's some history here. I met Keith Phipps at a screening of Good Will Hunting and I'm going out on another Ben Affleck movie. Can't get away from that guy.

Thanks. That was definitely the idea, and it was great to help build that sanctuary with my friends.

Good observation about the cinematics of the film. I probably give them too little credit in the piece, since I value the directness of the film's spiritual inquiry more than any other quality.

Thanks. There are many better than me, but I thank you for not finding them.

Thanks. Really great to hear. I was a Cinema Studies person myself in grad school, but there as in undergrad, I owe my career to extracurricular activities (re: watching movies nonstop like a social mutant).

That's really the best possible thing anybody could say to me about this column and my work. Thank you.

Thanks, Warren. I still think those Cult Movies books and the Guide For The Film Fanatic are all a budding cinephile needs to get going.

Much appreciated. It's been a great (and very long) run.

French gore-porn. No sweeter combination of words than that.

Mommy and Daddy still love you. That's what's important right now. (But yeah, you're kind of the reason. We'd have been just fine without kids.)

Thank you, sir.

Thanks for this. I'll continue to stump for cult movies (and other things I love) elsewhere. At some point. Keep an eye out.

If I told you I moonlight as a member of the Blue Man Group, would I at least have a shot at #1?

Yeah, nobody seemed to like The New Age. I remember digging it fairly well at the time, but it's one of those movies where I suspect the critics were right. Tolkin is an interesting guy, though.

No comment.

Thanks, Craig. That movie will put hair on your chest, will it not?

The cinematography is astonishing at times, especially in that early portside opening. Real locations, heavy noir atmosphere, perfect.

I've heard Panic talked about frequently as a Red Scare allegory. I didn't think it was filler to bring it up, especially given the political implications of On The Waterfront just a few years later.