Star Wars XXX: Revenge of the Tits

The point is that the late 90s was defined by catchy pop rock, and yet for some reason Flagpole Sitta has a distinct and enduring place in the culture. This is an article about that. I really don't see the issue (beyond people being offended that AV Club is writing about a song they don't like.)

> Pop rock that's workman-like, but nothing special

Ow, dude! Watch where you're waving your razor sharp edge for fucks sake!

Well that certainly wouldn't get my walrus of approval.

How are neither of these that Kinder egg commercial with Humpty Dumpty?

>a scene showing a child by themselves

>My simple argument is that he has aligned himself with people…

As I say, the whole left / right thing is designed as a way to use abstract concepts to avoid having to address genuine issues on their own merit. Your issue is that he claims they're trying to silence him, and yet you seem to agree that they're trying to silence him. You actually agree with what he's saying. And yet…

They're incredibly broad descriptions of a massive range of political opinions. By saying you're 'on the right' or 'on the left', you're saying that you automatically know what side you're going to be on, in every argument, without even thinking about the issues for yourself. No one, apart from idiots, does this.

Well first of all, talking about 'the left' and 'the right', as if they're meaningfully definable groups, is dumb.

Those are examples of people being boycotted for things they actually said. Tarantino is being boycotted for being 'anti-cop' and for saying that all cops are murderers which he clearly isn't and didn't. Protesting is fine. Deliberately mischaracterising what someone says, in order to draw attention from the real…

Hey cam aaaaaaahn, will ya? Michael Rapaport is walking, here!

Thing about Limp Bizkit is that, musically, they're a pretty interesting and accomplished band. I'll happily state that Wes Borland is one of the best guitarists of his generation. It's just that, on top of that, you've got Fred Durst talking utter utter shit about nothing at all. Just complete and total meaningless…

It's not that I missed there being a twist (Jesus, it twists all over at the end.) It was the overly flippant way the control room scenes were handled. In and of themselves they were fine, but they completely vented all the tension out of the movie. That's why I agree it's more of a comedy than a horror. If they…

Honestly, I think the control room stuff is just a bit too silly. I get that the joke is 'just another day at the office' but they overplay it to the point where it's hard to invest in the movie as a whole. There's breaking the 4th wall, and there's the cowboys from Blazing Saddles busting out into the Warner Bros.…

The control room stuff is amazing, I just think - placed where it is, as it is - it detracts from the movie as a whole. At the least, less of it, more subtly done, would have worked way better.

Yeah. This is one of those movies that generates so much goodwill with the effort it puts in, you're really hesitant to admit that it doesn't actually work that well (the Nicholas Cage of horror movies, if you will.) I really admire its cleverness, obvious love of the genre, and commitment to its premise but - as…

I don't get how people act like this film is an unsolvable puzzle box with many possible interpretations. The final scenes make it *compeltely* clear what's been going on all along: [SPOILERS] that we've been seeing the world the way Naomi Watts' character wishes it was. That's the genius of it: it's the most complete…

How so?