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cremazie

I’m trying to imagine the audience that’s excited to see both ‘Blink-182' and ‘Modest Mouse’.

MTV around then was great. You had boy bands, but you also had these boy bands that hated boy bands. The full spectrum, really.

You could easily inter-cut Python’s “We’re Knights of the Round Table” and most people wouldn’t even notice.

Yeah, I can sympathize a bit in the sense that I’ve worked on multi-year projects, and know what it feels like to just want to wrap everything up.

Missed the chance to say the Joseph Gordon Levee has broken.

I’ll be honest, I’m not sure what the target of the snark here is supposed to be. That Don John wasn’t actually good? That the show’s idea sounds unoriginal? That it’s a self-evident joke that Joseph Gordon-Levitt has “directorial flair”?

Yes! I felt exactly the same way. I can’t imagine someone who hasn’t seen many movies this year coming away from this Oscar’s ceremony thinking, “All right, I’m in the mood for some movies!” I guess I understand wanting to give the winners more time to talk (although personally, I mute most of the speeches because I

Well, no, Hopkins beating out Boseman isn’t the flub. Instead, the huge flub is the Academy seemingly restructuring the show with Best Picture being given out before Best Actress and Best Actor, apparently hoping to end on a manufactured triumphant and emotional tribute for a Boseman win. Instead, it fell flat on its

Yeah, like I say I can objectively admire the performances, but the age gap between her and her co-star(s) in both films bug me, I’ve been over Hollywood’s laziness with casting young women and old men for awhile, and would have skipped Silver Linings completely but the praise made me curious, and then it was

I think his Jennifer Lawrence obsession as a muse is wholly misplaced. I like Jennifer Lawrence, and while I can objectively admire her performances in Russell’s movies, I also subjectively think she’s terribly cast and shouldn’t be in everyone of them (including this one!)

I loved so much of this movie until the last 20 minutes or so, when the film’s stressful-yet-still-sorta-genial approach to dealing with mental illness in everyday life was summarily chucked out the window in favor of embracing full-on ridiculous rom-com tropes like “love conquers all (and is certainly more important

Nomadland is really good, but I prefer Minari and Lee Isaac Chung’s direction and script. What a beautiful, delicate, moving, understated portrait of family life, cultural assimilation, religion, and renewal, with nary a false note anywhere.

This comes up in pretty much every interview with her, and she’s consistently said 1. yes it’s goofy, because I came up with it when I was 15, but that’s still kind of my self-image so I still like it, 2. also I like that musicians get to use ridiculous names, 3. if I start getting a lot of serious roles I might stop

I can see her trying to do that with “Nora from Queens,” but it’s going to be very funny when she wins like, an Emmy or Oscar as Awkwafina.

I would be interested to know what Zach Snyder’s theatrical cut was going to be because there was no way that this was going to be a single 4 hour Justice League movie dropping f-bombs and blood splatter. My guess is that most of, if not all, of the epilogue would have been cut as well as the Martian Manhunter

I liked it. At least I liked most of it. The flash-forward at the end is as pointless and clunky as the article says. However, I would never have been able to sit through this in a theater, and it never would have been released in theaters in this form anyway. I actually think it’s kind of nice that streaming services

I think most of the changes made were for the better. I do miss some of the quips, but this movie wasn’t totally devoid of humor (“What’s your superpower? I’m rich.”). I think it’s a little unfair to criticize the runtime, because we can safely assume the theatrical version wouldn’t have been four hours long--some of

It’s consistently amusing—and thanks to the largely chaste nature of Todd’s adoration, never too creepy, either.

It seems a little weird to talk about how a fantasy movie reflects Our Current Situation, because for all the talk of loss and coping this is still a Disney movie where things HAVE to end happily for just about everybody. Unless it’s a twist ending where nobody who’s been turned to stone actually comes back and the

Addiction memoirs are a bit like superhero movies in that the formula is pretty mature and relatively unchanging, which constantly invites the question: do we really need another one of these? With superheroes, some of us don’t sweat it so much because done right, they’re fairly fun, the cinematic equivalent of a cone