Well, the second one is substantially better.

Mental note: add to list of movies will wish was on Netflix, then forget about or never find once are on Netflix.

Mr. Slate? Did the kids call him that? Is he related to Mr. Glass?

Funny, all my nightmares involve me getting nickel back.

Thaaaaaat's a lot of effort for a very mediocre show.

*Aziz Ansari shouting voice* The sickening!!!

Not using GDT's script is especially puzzling and disturbing. The original was his passion project, and they gave him the complete boot. Without even his script remainin it seems doubtful we'll get all the lovely little world building touches and gleeful tone.

I will have to check that out.

Funny how I'm suddenly interested in this.

As much as I congenially like the GDT adaptations, I really want a gloomier, more visually faithful (so, maybe animated?) Hellboy movie. I'm still sad GDT will never get to make his third Hellboy movie though.

I hope he's not the point-of-view character in the Black Panther film. Filtering it through a white guy's eyes is so '90s. I mean, so all eras of Hollywood.

Borrowed?
But yes.

I come here to champion what I hold to be the obvious winner of this contest (it's a contest, right?), the credits for Unbreakable Kimmy Schmidt. If there's another sequence that better simultaneously captures and elevates the spirit of the show, I don't know what it is. On the other end of the optimism/pessimism…

She's okay on Firefly (and gorgeous), but Whedon didn't really have any major arcs or changes for her to play in the one season. (And apparently her plot line in the season 2 we never got was that she was going to be raped??)

I think Better Call Saul is subtler and in some ways more complicated than Breaking Bad, and already almost as sure of itself as BB was at the end. BB is one of my favorites of all time, but I'm not ruling out the possibility that Saul will surpass it.

Baccarin as a serious business type is a waste of her comic abilities and charisma. Baccarin in V or whatever is a waste of her good looks.

Totally agree. Weirdly, given how it was marketed, the parts that worked best (for me anyway) were the tragic elements, and I wished they had played that up. How ballsy would it have been to give a incredibly jokey film like that a real downer ending (like, for example, he gets vengeance, but not the girl), or at…

And a Culvers' concrete shake.

Huh. It was so bad I forgot about it. The song at the end was a delightfully cheesy selection though.

What the heck is "incementing"?