Yeah, the writer started to lose me with the phrase "Burton’s slightly disappointing Batman Returns" and then went completely batshit with "Schumacher is an underrated director who became unfairly tarred by the negative reaction to Forever’s follow-up." NO HE ISN'T AND NO HE WASN'T.

I'd really like to go in to bat for Creep, from last year. A ton of fun, and Mark Duplass makes a surprisingly fantastic psychopath. The FF shooting style isn't remarkable, but at least it's justified, and there are some genuinely chilling moments in there. It's currently on Netflix (in Australia, at least).

I bought the '99 reissue of Safe as Milk as a teenager. Loved the album but one of the bonus tracks, "Trust Us (Take 9)" - I've still never experienced anything like that track. I am not a guy who likes to listen to the same track over and over, but I would stick that thing on repeat and listen to it for an hour at a…

Let's play plus and minus.

He's had it with these motherfucking snakes on this motherfucking plane (of existence).

It's very frustrating. Nabin's obviously an excellent writer, and I feel like some of his Season 3 reviews, at least, were very good, taking on the episode from a different angle and actually giving a little insight. Season four has all been beyond awful. Why the simplistic, error-filled recaps? We're not here to find…

It's very frustrating. Nabin's obviously an excellent writer, and I feel like some of his Season 3 reviews, at least, were very good, taking on the episode from a different angle and actually giving a little insight. Season four has all been beyond awful. Why the simplistic, error-filled recaps? We're not here to find…

Or if not haunting,

Or if not haunting,

I dunno… Does it strike anyone else that Tasha's stretching her premise as far as possible to accommodate all nine films? I mean, you can certainly draw a line between Midnight in Paris, The Artist and Hugo - all specifically concerned with pining for the past - but the rest?

Seconded. Absolutely loved that album. And the recurring "WOMP-WOMP, doo-do-doo-do, WOMP-WOMP, doo-do-doo-do" theme would be stuck in my head for weeks afterward.

I dunno, it seemed pretty clear to me as written - if the Okazaki storyline ranks only above S.mouse, then it can't also rank above Gran and the twins. Therefore S.mouse is the least preferred storyline, followed by Okazaki. It's a pretty common turn of phrase - "Mouldy bread ranks only above dogshit in terms of…

Not sure how you get that meaning from it. I'm pretty sure she means it as "The Okazaki storyline ranks only above S.mouse [but well below everything else] in terms of characters I'm truly invested in…", so they're her two least favourite storylines.

I think The Cook, The Thief… was the one I enjoyed most of the films of his I've seen, with The Pillow Book close behind. But I haven't seen either since being at university, and as Tasha wrote elsewhere in the comments, Greenaway may be a very different director through older eyes.

God I wish he'd finished The Pale King. Some parts of it - the first eight chapters, and chapter 22 - are among the best things he ever wrote. But the David Wallace stuff goes on far too long and falls pretty flat. But it's still very definitely worthwhile reading.