Ed O'Neill was the heart of that show. I'm sure his accountant begs to differ but I'd prefer to still be watching him on that than not watching Modern Family.

i hated this opening. I just can't take a rich kid from Stanford trying too hard to be macho and literally making finger guns while dressed like Black Colonel Sanders seriously.

Uh, I wasn't judging you. I was just—gently and politely—suggesting that you could probably broaden your view of movies if you have a hard time finding something on Netflix. If that makes me a condescending armchair analyst in your view, then I'm sure you're a blast at parties.

I honestly think you're doing yourself a disservice with how narrowly you view movies, based on this and the previous post.

Yeah, more and more it seems arthouse cinema and even just modestly budgeted genre pictures don't get released outside of the largest cities unless you have someone with pull doing the "one for them, one for me" thing.

Yeah, for film enthusiasts and creators, the upside to the national disgrace that is investment in our civil infrastructure is that most large cities have areas that look relatively untouched from practically any decade you could choose—because they have been.

It handles touchy subjects in dramatically compelling and artful ways. From the promotional materials, I had feared it was going to be the TV show equivalent of the sheltered bourgeois kid on campus who has strong opinions about everything but low tolerance for anything that makes her uncomfortable. It's the opposite…

That's not true to my experience. It's more limited than it used to be and I wouldn't be thrilled by the limits placed on the selection if I had to limit myself to the streaming service completely but there is more film content on the streaming side than can be reasonably watched in a lifetime. If it's nearly…

Hannibal itself wasn't doing poorly in season 1—it was holding its own for a NBC show on that night, it's just everything on NBC that year was tanking like mad—and it's cheapness made that 'hovering around 1.0 in the demo on a weeknight" work for it.

This always weirded me out because Southern California is pretty easy to shoot in a way that looks period-specific. Drive, for example, is very much designed to feel like the 1980s in LA—even though it is set in the present—and they pull it off purely with good location scouting.

I was a huge Russell Crowe fan during his early career. Yes, this is, deservedly, what he's best known for both out of that period and overall—but he did lots of interesting-to-great work. It's the Academy Award and association with Ron Howard in pursuit of more of those that changed him—professionally at least—for…

Rome is more what typecast him. The dude has a ridiculously wide range but he's been kind of typecast in variations on Caesar in most things he's done since Rome.

Whatever this is, I'm watching it. That cast alone gets a blind viewing from me.

I think a better reason for opposing is its intended effect of checking the power of the state. Study after study shows that witnesses are pretty ridiculously unreliable sources even when the events in question are still fresh, which makes the power they have in the legal system already worrying.

I guess this is a common hope for fans of that film who are aware of how it was made? I've wished for the same exact thing.

The WWII flashbacks are set in the Pacific theater, including island sequences, and they're both about the psychic/spiritual toll of war in general and that theater of war in particular. So, I think they're more similar than appearances suggest.

If you want to watch a film where everyone hates the living fuck out of Richard Gere's character and he torches his life to the ground, Arbitrage is a good bet. ETA: Also: Unfaithful.

If you go in for a traditional war movie, you're going to be disappointed. It's an exquisite slow burn and, outside The Master, probably the closest a widely distributed American film will come to capturing the more complicated and honest account of the Second World War that you get in literature.

He disappears for a substantial portion of the middle of the film but the great directing, photography, writing, and performances don't, if that rekindles interest.

I wasn't that impressed by Knight of Cups but still feel The New World is his weakest film. Christopher Plummer's complaint that it falls apart after the first act and is badly written strikes me as very fair and accurate.