Sad!

I've been watching a whole bunch of 2000s Spielberg movies to prepare for Blank Check covering his DreamWorks oeuvre, including Minority Report, A.I., Catch Me If You Can, and The Terminal during the week. As for the weekend…

SG, are you still doing trivia this weekend?

I buy tickets now.

So, uh, here are my picks for the best cinematography of the year. I'm sure La La Land and Silence will enter this field whenever I get to see them, but honestly, this is a really tough top five to break.

You should at least wash that down by listening to the 30(!) episodes David Sims and Griffin Newman did on the prequels as if the original three didn't exist. You'll get to hear Chris Gethard freak out when singing the praises of Kit Fisto, at least.

The Mysteries of Zelda

Also, how is it that no one making these movies/shows realizes they can and should get Alison Pill back to play her?

It's actually one of three Zelda Fitzgerald projects in the works!

I swear, everytime I see someone raging against Dowd, it's like wandering into that forum where people still think Daniel Craig is the worst Bond ever.

I really like One From the Heart, and as much as I'm sure I'll love this, I'm not sure it'll have a moment quite like Tom Waits croaking "You Can't Unring a Bell" at the main character on the soundtrack.

Cafe Society had maybe the fullest, richest color palette I've seen in a movie in a while (that's what you get when you hire Vittorio Storaro).

Cafe Society had maybe the fullest, richest color palette I've seen in a movie in a while (that's what you get when you hire Vittorio Storaro).

Cafe Society had maybe the fullest, richest color palette I've seen in a movie in a while (that's what you get when you hire Vittorio Storaro).

Cafe Society had maybe the fullest, richest color palette I've seen in a movie in a while (that's what you get when you hire Vittorio Storaro).

Cafe Society had maybe the fullest, richest color palette I've seen in a movie in a while (that's what you get when you hire Vittorio Storaro).

Moonlight is gaining some serious momentum right now.

So, terrible now means a five-star masterpiece that's in Woody Allen's top five? I need to catch up.

That was the point when I really started becoming tired of the movie, because that's when it started forgetting it had even rudimentary things to say about superheroes in the first place.

I love how it stages the big dramatic turning point in broad daylight and to fucking "Jump Into the Fire".