Casting a blond dude as Julius Caesar with modern era wardrobe* is literally the entire basis of this "outrage." Or perhaps you think Shakespeare was also clairvoyant and was somehow pulling an Arthur Miller 500 years ago, on a story that was already 1500 years old at the time?

First, putting on a 600 year old play in no way "trumps" actions taken by the President of the United States, but let's put that bit of hyperbole aside and take a moment to give you the benefit of the doubt.

Yeah, I'd definitely buy that the other characters have a different "It" than Travis. As I said, it's got a lot of things on its mind, and delves into them in a fascinating way, which makes the script issue all the more frustrating.

The time frame for the virus is one thing, though I'll give them a little room on that being fungible. My big problem is that back door.

They go to very specific trouble to make the point that Paul is the only one who has a key to the red door, and it's to remain locked at night. Yet its open when Travis goes…

I'd never claim that Snyder doesn't have an interesting eye for design and composition, so I'll definitely give you that.

Its not that he's consumed by anger so much as that you can just tell that the guy is a little unhinged (which is somewhat baked into most Keaton performances). Its impossible to get a bead on him, but there's always an undercurrent of danger.

Agreed. I think the difference is that TDK just keeps moving fast enough, and is so anchored by Ledger's performance, that you don't mind until you've seen the movie a couple of times and think, "Wait a minute…"

Having learned that the film was written directly after and in response to the death of the director's father, it seems that the whole film is based around the journey Travis takes, and how his grief over losing his grandfather affects him. Maybe that's cheating with outside information, but I heard the interview…

Given the interviews and other discussions of It Comes At Night I've heard, before and after seeing it, I'm convinced that the "It" is grief/sadness/etc. Just my take on it, but I think it's in the ballpark if not the exact idea.

Someone elsewhere (maybe you?) put out the theory that Persephone was a kid with too much identity invested in the show. Sounded about right to me.

Professional critics are also watchers of the industry, and at this point the cinematic universe concept forces them to be more like TV critics than film critics. They kind of have to comment on how one film affects the rest of the "series."

DKR gets knocked down a peg for never adequately justifying Batman hanging up his cowl. Its kind of some weird mix of "pining for Rachel/mysterious injury that didn't seem to be there at the end of TDK".

I'm a big fan of horror movies, and people always give me a weird look when I tell them Poltergeist is one of my favorites. But the older I get, and the more able to empathize with the parents fighting for their child I am, the scarier that movie gets.

Watch it again. The answers are all in the film, which is part of why its easily one of Nolan's best.

Donald Trump
has told Theresa May in a phone call he does not want to go ahead with a
state visit to Britain until the British public supports him coming.

I enjoyed the film, and I got over how ridiculously misleading the trailers were easy enough, but man does it have some really annoying gaps in the plot— to the point that they really undercut what I think the movie is getting at thematically.

Just goes to show how much interpretations can differ, because I always found Michael Keaton to be the one actor that really showed that Bruce Wayne was the fictional persona and Batman was his real personality. Keaton plays the character as crazy too, if less so than the Joker, and that's one thing I love about the…

"…before your first movie has come out for the second time!"

23 comments, all about Sense8, and all but one on this site.

Agreed. I'm pretty sure that comment was the pop culture equivalent of an InfoWars chemtrail rant.