This felt like the show was trying to scare Trump away from hosting by giving him the most lukewarm, laugh-free material possible.

How great is the cut from Maurice (I think) saying "Just a kid looking for his mother" to Amber staring lovingly at Dirk? Really great, says I.

I agree with everything about this except that Munich isn't major Spielberg.

Yeah, Larry David too. Having him and Donald Trump in the same room was like matter and antimatter meeting.

The Knick, "Wonderful Surprises": Any episode of television that begins with someone setting themselves on fire is bound to be a good time. This is no exception.

I'm afraid it's you who is mistaken. Do any of Tarantino's films other than Jackie Brown feature a scene where Chris Tucker is shot repeatedly because he's annoying?

As long as it's got that Hoyte van Hoytema magic, I'm there. I just watched Let the Right One In and mercy, that movie looked gorgeous from frame one to the end.

Sicario looked utterly gorgeous, probably the best-looking movie I've seen this year. Can't wait to see what he does with Hail, Caesar! and the Blade Runner sequel.

Actually, that was what I was talking about and probably described poorly.

Yeah, Assassination of Jesse James is next-level visually (I could watch the train robbery sequence on a loop for the rest of my life).

And No Country, in the same year. Then again, Robert Elswit for There Will Be Blood is a deserving choice as well, so I feel a little better about that loss in comparison to shit like, I dunno, Life of Pi winning over Skyfall.

Haven't seen Signs, so I can't say. However, you are given free reign to bash Lady in the Water.

In the next life, you will be my sworn enemy. And I will show you no mercy.

The shot that holds on Bryce Dallas Howard's hand as one of those things gets closer… *smacks lips*. Roger Deakins, you magnificent bastard.

Yeah, I somehow have a feeling that this isn't going to end with another convert joining my Village Fan Club.

Um…

I'd love to get you /
On a slow boat to China…

Whatever people think of it (I love it to death, personally), the cast, score, and cinematography are beyond reproach.

The Knick: "You're No Rose" and "The Best with the Best to Get the Best": Soderbergh is still straight killing it (the shot of Algie and his friend talking at the bar in "Rose" is one of my new favorite shots of his career). Of the two, I liked "Rose" more, with "Best" coming off as mostly table-setting, if engaging…

She's so good here that I liked Bridge of Spies less because she was so underutilized there (and you can tell that she probably had a subplot that was cut out at one stage).