Because calling it "Part 1" is just tempting fate.

Just rewatched 'First Class'. It's the campest superhero film since 1966's 'Batman', right down to Kevin Bacon's Bond villain plan and a submarine that makes "bing" noises. This is a good thing, btw. Joel Schumacher could only dream of making something this camp and it's infinitely more joyous than 'Kingsman', which…

In The Last Stand, Magneto treats his (admittedly rubbish) mutant army as disposable canon fodder, which is just wrong. He might be ruthless but he's not callous, and not so casually disregarding of mutant life.

Reading this article made me reflect that the real disappointment of 'Apocalypse' (which is uneven but by no means negligible and also has 'Sweet Dreams' in it*) is that the previous film climaxes with Jennifer Lawrence and Michael Fassbender acting at each other until one of them makes a literally fateful decision,…

What about Magneto skulking around the Canadian woods with a huge army of raggedy skanks, like a poundland Voldermort?

This sounds terrible. But also unmissable.

The end point was 70 years after Barrie's death, i.e. 2007, which is why Lost Girls couldn't be distributed in the UK for a couple of years after publication.

Three of the four non-fantasy movies you name are actually fantasy movies, unless actual literal gates to hell and alien bodysnatchers are just routine in your neck of the woods.

Being a prick does not affect your statutory or contractual rights. Also, bear in mind that a lot of things that Moore says that look awful on the page sound a lot more reasonable and thoughtful when you actually hear him say them. Though this might be considered a drawback in a professional writer.

It's the IP property rights that are the real issue, not the period during which Watchmen has been in print, but fans are very good at zeroing in on completely the wrong thing. If Watchmen had been a work of prose, Moore wouldn't have been expected to sign away the copyright in the text, but this was standard practice…

A decent solicitor or agent would have said "maybe stick in a 'or after a period of X years, whichever is sooner' clause here, for safety's sake" but I get the impression that the contract was never brought before a decent solicitor or agent.

Great Ormond Street Hospital - who famously were granted the rights to Peter Pan by J.M. Barrie - perhaps understandably objected to the use of their character in Lost Girls. Moore accused them of censorship.

Back in the early 1990s, Neil Gaiman thought he was being screwed on the Sandman contract. He complained to DC and they negotiated him a better one. He still works for DC occasionally and - if his comments on Sandman Overture over the years are to be believed - keeps getting better terms.

Maybe ever comic/collection published by DC or Marvel but certainly not in other parts of the comics world (and of course, in the non-comics book world). Apart from anything else, Moore would have been aware that a lot of 2000AD contributors were becoming extremely put out by Titan Books' repackaging of their…

No, it's a case of both parties being caught out by circumstances that disproportionately benefited DC. Moore didn't expect the book would never go out of print but neither did DC.

The Alice books are basically unadaptable as conventional narratives, so its inevitable that the best (and worst) film versions bring their own idiosyncracies to the table. (My personal choices for the best would be Jonathan Miller, Jan Svankmajer, and Dennis Potter - who basically invented the Dodgson-as-Paedo meme…

Mr Potato looks uncannily like Daniel Day-Lewis in 'There Will Be Blood'. Now I've said this, you will never be able to un-see it.

To be fair to the critics, "better than The Last Stand" is a quality in the same league as "less painful than the Black Death".

As we're talking under-developed female characters I'm surprised there's no mention of Moira McTaggart, who's in the film to a) stupidly kick-start the plot and b) infodump on Apocalypse. Having done that she then hangs around pointlessly for the rest of the movie, and is even ineffective in the Stryker sequences…

Can I just say this film has one of my favourite shots in an Altman film - a perfectly framed moment with Robbins and Richard E. Grant flanking Dean Stockwell in such a way that the latter ends up looking like a midget?