The only good thing to come out of this Civil War Part Deux clusterfuck was Ms. Marvel's side story to the events—showing how easily a fascist mindset can infiltrate a noble intention, and having our hero grow and learn from that (and also prophetically smash outed fascists with a giant fist). It's really the only…

They'll never know the true lunacy of trying to figure out how "Forget you!" is supposed to be a harsh insult.

It's definitely one of the more straight comedic bits in the film, but without the cutaways you lose the collective univerality of the whole world stopping to watch Truman escape—followed by the rapid deflation of the Truman network before dropping out altogether with the final cutaway: "Wanna see what else is on?"…

I've always loved the slow zoom shot of A No. 1 sitting amongst all the discarded junk under the rail, puffing on a cigar. It might be trash, but he's still king of it.

That's Tim Roth, not Waltz.

Nice to know they absolutely gutted the ENTIRE DAMN POINT of Z for Zachariah. I was afraid they were going to pull this when they aged the main character up from a just-entering-puberty 13 year old girl to full grown beauty and added the third character. Why bother grabbing the rights to the book if they weren't…

Chris O'Dowd deserves a nomination just for his accent.

Best Editing doesn't mean "MOST" Editing. Sometimes crafting a well told story over 12 years is just a awardable as creating custom 5K workflows for maximum color correction capabilities.

The correct equation is Keanu Reeves + puppy.

Not to mention if we're going to start putting markers on what's "worth" expressing or protecting then pack it in, we've already lost.

Honestly, this needs to be a horror movie. Anyone who's tried a deep-earth mining trip at 3am only to get blown up by the Creeper you didn't even know was there knows how freaking TERRIFYING this game is.

He's great in PLATOON and all that, but for my money he broke out in THE THING.

It's important to remember that the original budget of the trilogy was $300 million, but after Fellowship cleaned up at the box office, New Line opened up its purse to PJ for more budget in post (hence all those reshoots that kept happening and adding to what was already shot…heywaitaminute…) It's never been publicly…

Harlem Nights never gets any love. It's not great, and it's not straight-serious, but Eddie acquits himself nicely in a more subdued part. If only the movie around him and Pryor was worth a damn.

Carrey's voiceover about the state's prison system, ending with "Fucking Texas" is one of the best mini-monologues in recent years.

The most dated thing on MLOR is "On The Turning Away", which was an obvious, hacky ploy by Gilmour to produce his own "We Are The World" message song. Pink Floyd doing a message song is just…it's not right, man.

I saw the original Broadway performance in a theatre class when I was 14, and have been lusting after Bernadette Peters ever since.

It wasn't just the breakdown at Hershey's that led them to boot him out the door. The whole season of his behavior led to that moment; Hershey's was just the final straw, the moment of raw, brutal honesty that he couldn't pivot away from or wave off, like he did when he dumped Jaguar without consulting the other…

Do you mean he doesn't die in the book? Because Tommy dies in the movie.

Bob Hoskins is also doing great hammy work as Smee. I actually like the movie in a shaggy dog kind of way until the third act, where it flies off the rails in spectacular fashion.