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Bobo
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Thank you. I came here just to whine about Cate Le Bon's exclusion. My first listen of "Crab Day" I thought: "This is good, tight, minimalist art rock that I'll probably never listen to more than once." But goddamn if I haven't listened to that record 500 times since then, and it only gets better and better with

I'm late to this argument but I find a lot of the hand-wringing over the anti-feminist implications of The Witch wildly frustrating. Eggers pulls off something very complex in this film, managing at once to a) reignite the terror and mystery of the "witch" archetype while at the same time b) demonstrating the ruinous

"only plausible reason… is that they are letting Marguiles have way too much control over the show"

I used to feel the same way. Their first two albums struck me as far too sedate, and texturally like a less dynamic version of 90's band Pram. Then Teen Dream snuck up on me at a particularly emotional time of life and I fell in love with it. Then Bloom came out, and I was bored and disappointed all over again— but I

You mean "prospective," not "perspective."

Sean's headline for the first time this show was cancelled remains my favorite dumb joke headline of all time. "Lifetime to Drop Dead Diva: Drop Dead, Drop Dead Diva." I think it's the gratuitous cruelty of "Lifetime" calling the show by its own name.

Pauline Kael has a quote about the Capra "touch" that absolutely slays me every time I read it: "No one else can balance the ups and downs of wistful sentiment and
corny humor the way Capra can — but if anyone else should learn
to, kill him.'' It's bitchy, and may be unfair—I've only seen three or four Capra movies,

Wow, you just sent me down a Cary Grant/Randolph Scott internet rabbithole. I knew Grant was gay, but had no idea how essentially open his longtime relationship with Scott was. There's a nice little history of it here, with amazing photographs of the two of them together: http://www.homohistory.com/…

Armond White has completed his transformation into Robert Doqui's character in "Nashville."

One extra note of ambiguity in the final scene is the question of whether or not Genevieve stopped by the gas station on purpose or entirely by accident. I think she says the latter, but the way the scene is written and acted suggests otherwise. In that version, she may have come to see Guy… and to feel him out.

There are definite cycles to the relative commercial and cultural dominance of sitcoms vs. dramas. Commercially, you can peg the last big hourlong boom to ABC's Lost/Desperate/Housewives boom, and the sitcom's resurgence to Modern Family. As a TV writer working in hourlongs, I've spent the past few years jealous of

Very disappointed that neither the critic nor all the people saying "whatever happened to Bridget Fonda" in the comments has bothered to mention how effing wonderful she was, a bright spot in just about every 90s flick she was in. She was insanely sweet, smart, and vivid in a whole bunch of movies, and incredibly

I hate Tabasco. But seeing as my parents punished me for cussing when I was kid by forcing heaping amounts of it down my throat, I guess I'm biased against the stuff.

1963! Maybe AVClub will draw some attention to the work of Jacques Demy, the most underrated of the French New Wave. His post 60s stuff didn't age well (from what little of it I've seen) but he made three classics in succession: Lola, Bay of Angels, and The Umbrellas of Cherbourg. All three are at once swooningly

An equally underrated gambling movie that too few people have seen: Bay of Angels. Jeanne Moreau plays a roulette addict wandering around coastal gambling cities in France. Black and white, with a gorgeously repetitive score by Michel Legrand, and JM as good as I've ever seen her. These two would make a great double

Also this: "(It’s worth noting that she helmed several episodes of Sex And The City and Gilmore Girls.)"  Which is either bad writing—in that there's no way to infer what he means by "worth" noting—OR it's an obnoxious shot… "don't take this chick seriously, she directs TV… and CHICK TV not cool man stuff like The

Well
in addition to the condescension shown towards all of Holofcener's
work—not to mention the lazy "first world problems" dig, which I'd
argue is more frequently leveled against the creative output of FEMALE
firstworlders than male—there is the subtle way Dowd walks up to the edge of
crediting Holofcener for the

"The reference to Pacific Rim in the bit about Gravity, for example,
doesn't have any purpose in the context of the review. It's out of
fucking nowhere, existing to say that the reviewer found that film
tedious, but it doesn't actually illustrate any points about Gravity -
if anything, it muddies the water, since one

I hate critic-bashing generally. There's a reader-critic contract that goes: "I, as the reader, will temporarily defer to your judgment in the interest of gleaning any insight I can from your assessment, and put aside my childish and petty attachment to my own perceptions/preconceptions in the interest of learning

Oops, I may have misread your comment as a response to mine because I am old and don't understand The Disqus. In which case, my apologies and as I said I agree with your point.