This was as wonderfully intense and humorous as I could have hoped it would be. And it has the best introductory sequence of any A.V. Club interview I can remember.

He also won't do anything in the last two duet verses that the female vocalist asserts he will eventually do: "see that it's time to move on", and "be screwin' around".

Nothin' ever grows in this rotten old hole, and everything is stunted and lost.
And nothin' really rocks, and nothin' really rolls, and nothin's ever worth the cost.

Only 8½, actually. It only seems like nine.

This shed a little light on Steinman's frequent self-plagarism as well — like the writing of a song is a collaborative process with the performer, and Steinman just tosses out hooks and verses and things that he's used before, but thinks will fit well in the current project, so why not?

There are plenty of other unexpected twists like that, and a pretty good cast (leaving aside the apparent Kevin Dillon hate here). It's one of the more outright harrowing horror movies I know for its Cameron-like pacing and "no one is safe" air.

The team will also raid a lot of illicit poker games, and toss flashbang grenades into the house next door to the one they actually have a warrant for…

Yeah, but only if he'd thought to put them in special plastic protective sleeves…

Candyman — it even has the right title for a Halloween movie.

A friend of mine who saw it then, in a pretty sparsely occupied theater, grabbed a handful of those glossary sheets.

Yup. Japanese writing works that way.

I think the "Burns' sexually-inappropriate mother" bit was meant as a Howard Hughes' mother/The Aviator reference, though given recent seasons' tendency to reach for Family Guy-esque cringe humor, maybe it was a purely original inspiration for them…

Perhaps the page turn was meant as a manga reference?

The show's pretty heroically good with continuity, at least in that sort of nerd-pleasing detail.

There seemed to be an interesting thematic tug-of-war with that too — I took Jones as the one who favored the ending having Sarah "put away childish things", while Henson pushed for her holding on to at least some of the wonder and emotional attachments.

I remembered the train theft as being specifically to get them out of Bartertown, (while incidentally wrecking the methane system) which didn't seem nearly as urgent to me as the film seemed to think it was.

It does kind of make the carnage of the chase seem that much more senseless — Rather than certain brutal death, Max is rescuing the kids from… being corrupted, and probably exploited in some way? Not an unworthy goal, but one maybe not justifying quite so much destruction.

I thought she introduced herself as Aunty Entity, but I could be mistaken.

My friends and I loved the prospect of endlessly stacking titles: we speculated that III would be Rage into Terror: Rambo II: First Blood Part III, followed by Bloodstorm: Rage into Terror II: Rambo III: First Blood Part IV, and so on…

The Rambo cartoon is also the reason why, wonderfully, a Richard Crenna action figure once existed.