Given how unintentionally hilarious Chris Cooper's entire arc is—especially the execution of the end of that arc—I can't agree with this. "Repent! Repent!."

I'd sort of kill for him to have Keaton and Nic Cage headline a Kingdom Come movie or live-action adaptation of The Dark Knight Returns together and kill two birds with one stone.

There is a more interesting version of Titanic where Jack is a completely revolting Dickensian street urchin and Rose isn't banging him because they are star-crossed lovers but because she's doing it as weirdly self-destructive "fuck you" to her parents and Billy Zane's character.

I think it's unfair to say it's proselytizing. It and Silence both basically take stories about religious conviction and use them to explore the larger theme of identity. And Silence is the one of the two that plays more like a typical religious movie thanks to its ending.

I've been working a lot and unfortunately haven't watched this season. Did they even touch on whether or not Josh would ask Rebecca to convert or vice versa? The character dynamics set up in the first season kind of perfectly set up that sort of personality clash. (Josh because he's devout and not very observant in…

I've always thought it and The Scarlet Letter would translate best as animated films.

Characters who can't sleep without freaking out seem to fascinate Sheridan. The brother in Hell or High Water is that again but without a teenage goth's impression of what loss must be informing his creation.

Which describes Sicario. The central relationship in the film exists because Female Lead reminds Male Lead of his dead little girl. You don't get more maudlin than that.

I think Sicario is good but very overrated. But Hell or High Water is fucking great. The psychotic brother in that kind of plays as Sheridan doing another take on the kind of character he wrote for Del Toro in Sicario but dialing down the inner teenage boy/Zach Snyder who convinced him spelling out The. Most.…

I think they see a standard large company running an employee into the ground through brutal exploitation and just assume it's premeditated murder. It's a hearing galloping and assuming they're zebras rather than horses thing.

That's just the basic narrative both Affleck and Warners have put out there. That they financed these films at a low point in his career and they didn't really make money for the studio and this DC collaboration is his way of thanking them for their support in more independent-orientated fare. If it's untrue, it's…

I don't really think he had a choice. Warners financed his movies when they were critically well-received but not really profitable. Warners and Affleck act like it was him just returning the favor in public but I would not be surprised if they used future financing of those films as leverage to pressure him into the…

I think this is probably for future cameo appearances in Original Trilogy-era anthology movies, not for sequels. That makes the most sense.

Sylvester Stallone claims he's the guy who started it simply because he didn't like working with Richard Gere.

Also intriguing—in addition to this being as much a Johnson film as a major franchise Disney picture could be—is the fact that Disney execs labeled the script "weird" and still made it.

I think the effect of being jarred and confused really is a design choice on his part. I think his choice to also write significant portions of text in Spanish is of a piece with that. Exploring the ways in which language can be designed to exclude rather than communicate seems to be a serious fetish for Southern…

I really don't get why they didn't make Tarkin a hologram at least part of the time. That would have gone a long way toward making him less obviously CG.

Yeah, this could work if you had Kylo Ren kill Leia too and made Lando Leia's current lover and Rob Roy to Ben Solo's Archibald Cunningham. The little fucker killed his buddy and the woman they shared—he needs killing.

No. Pure CGI human beings will never really move completely beyond the uncanny valley. If they want to go that route, they're going to have to go more with the visual equivalent of VO looping for dead actors and hire people who look and sound somewhat like them and then use something like digital makeup.

Wait, guys, I thought Johnson is writing them both and Trevorrow is merely directing the third one.