I'm honestly not sure what you're complaining about here. That the studio (HBO) didn't show the movie in theaters to critics to view? Even though literally nobody was even going to have the option of seeing it in a theater? I mean, sure, that would definitely be nice. But I'm saying, the movie looked like shit, it…

It needed *something* bigger. Maybe if you can't afford a car accident stunt, write something that doesn't need a car accident stunt? The characters were already fighting pretty hard.

I know, when I saw one, I said "Everybody do a shot" and then three more appeared within a minute and I was glad that wasn't an official drinking game rule.

Not bad.

I would agree there is no particular story, but the unicorn one has good storytelling. I don't want to say anything good about Jason, but it manages to convey their entire relationship without a word, it fills in a lot of backstory on who this guy is with a single anecdote, people's actions don't need explanation…

"It's such a minor issue for most unless you happen to have a stake in how your work is being viewed."

I feel like, if you asked him, he would say that was the point, but it was supposed to be more implicit and left to the audience to figure out. Then he would complain that the take where she conveyed that was slightly under-exposed, so totally unusable.

You missed the part that was, in retrospect after seeing the movie, by far the best moment of that thing…

The final scene has four black people on camera, including one really prominently. Two of them are having a conversation! (In the background; you can't hear it.)

It has "Premiere" in the title.

Actually, the only place I ever saw her referred to as a "line producer" was on-line. In the show, they repeatedly called her and Marc "creative producer"s and they are credited as the two producers on the movie.

I honestly thought I had misunderstood and maybe there were two different daughters.

I think it is more appropriate for people to have wildly conflicting emotions they jump back and forth between in high operatic serialized storytelling rather than what is supposed to be a dry mannered one-off, but that might just be me.

It lowers the bar for what passes for mediocrity, at best.

They weren't really co-writers, they were the actors who got script credit almost certainly because of the amount of improvisation. What you are talking about would be a problem if the WGA had given them that credit (which they never would, Chris Guest used to try), but if there was any money, they could potentially…

Literally every joke he has attempted on camera has been a snide dig at somebody that wasn't funny.

If he had listened to all of the people telling him what was wrong with it when he had time to fix it, I might feel bad for him if critics were being mean, but as it is, he willfully ignored all feedback, even when Affleck said "If you go on record as not doing it, you're not doing it even though everybody said you…

Somebody should try to cast them in the movie for the show. Damon seems good at picking scripts for himself, and Affleck has skill at least in picking stories to direct.

Directors who watches the show believe they either would be too brilliant to be held back or they wouldn't make the same mistakes or whatever. Probably not all directors, but enough of them to get applicants every year.

"This was a film where one minute a guy wanted to marry the love of his life, the next minute he wanted to be honest with her, the next minute, he wanted to rid himself of the whole thing and every other character had two or three such changes."