What about "Disarm" on Siamese Dream? Orchestration + bells + bombast?

"Are we hot?"
"We are not."

Agreed completely. I think when they wrote "annoyingly bizarre" they must have meant "awesomely bizarre." And "I Know I'm Not Wrong " is just beautiful.

Elvis Costello and amphetamines need to collaborate again. And by this I mean I miss "This Year's Model."

Scanners is severely marred by Stephen Lack in the lead role. That man is a fucking void of charisma, hard to watch on screen. Also the midsection gets kinda bogged down in bullshit double crosses and 80's computer magic before the (admittedly awesome) showdown at the end.
Ironside however kicks much ass.

Funny as Fuck
Scott is totally right about the humor in this movie. At least half of the people I've shown this movie to have failed to get it. Granted the comic sensibility is dark as fuck, but that's why I like it. The whole movie has the sense of this uncomfortable, slow-motion trainwreck playing out in front of…

But see, some of us just love getting that messed up feeling.

Fucking Oscar politics. I want to start a petition to give Jeremy Irons some kind of retroactive award for his work in this movie. The concept of the dual role carrying the film is daunting enough, but he just fucking slays the performance, its so unbelievably engrossing just watching him act in this movie. He may be…

Ok. Here goes. Personal order.

Smoke up, Johnny!

Gedde Watanabe in Gremlins 2:

My roommates and I have been saying "It's Steve Zahn. The killer is totally Steve Zahn," every time this trailer comes on TV, which is a lot. Glad to see that conjecture validated.

Heartburn is good. Fuck pretty much everything else. Esp. Sleepless in Seattle. Blech.

The Brood is fucking tops. And I don't think there's anything forgettable about Samantha Eggar licking one of her psychoplasmic fetuses clean.
The Brood is for my money Cronenberg's best straight-up horror (as opposed to sci-fi or psychodrama). But Dead Ringers is his best, in my opinion.

No, Gentle Ben! NOOOOOOOOO!

The sentence construction in that "summary" coupled with my brain reading it in a Cage-drawl is causing a system overload.

I'll give you that the Oscars are utterly meaningless, but I think he deserved it for Leaving Las Vegas. That was a really lived-in performance pretty much devoid of shtick. He's been making up for it since by piling on said shtick, sure, but his performance in that movie holds up.

"I'd always pick the wrench."
"Why?"
"'Cause fuck him, that's why."

And he co-wrote Darjeeling Limited, which some people were lukewarm on but I loved.

@ Pedal Reviewer