It's also, I admit, far better on a big movie screen than it's likely to be in a home-theater situation. But that only makes me like it more.

I love The Fifth Element but in what universe is Face/OFf ridiculous and The Fifth Element is… whatever you're claming it is?

If you're going by a strict definition of camp — which I don't think you are, but bear with me — then this assumes the craziest/weirdest stuff in the movie (which is to say, Cage's performance; other stuff, too, but that first 15-20 minutes of bonkers Cage gets a lot of attention) is either not intended as wild or…

I got the impression even from my far-away seats at this Madison Square Garden show that Simon was Not Having It with Garfunkel and that Garfunkel was trying to smooth things over and be good for the crowd. They must both be pretty unpleasant in their ways (but I always just wind up blaming Garfunkel like a jerk).

I do not believe Eisenberg is in that film. (Another demerit! I love that guy. Credit to Jesses everywhere.)

Tarantino didn't really collaborate with anyone extra on Jackie Brown, though, unless you're saying the screenplay was de facto cowritten by Elmore Leonard, which I think is kind of a stretch even for an adaptation.

So it's lazy storytelling that Rose's change happens because of the events of the movie?

Operatic pulp and camp are vastly different and an actual textbook definition of camp appears nowhere in that comment.

Crash got its U.S. theatrical release in '97. IMDB has a bad habit of basing some indie movies' years on festival coverage. Like how everyone calls Virgin Suicides a 1999 movie and it's TOTALLY NOT. It played Cannes in '99 but didn't get any kind of real theatrical release until 2000.

That's a really good one.

Jackie Brown is the only one of those I'd put above Face/Off. (And all but one of them were on my ballot.) (Though there's totally a First Album Syndrome thing about Boogie Nights for some people, despite it not even actually being PTA's first.)

The narrative that Face/Off works only as pure, unbridled camp — both by people who love it and who think it's ridiculously terrible — is really bizarre and I feel like I want to blame young people or the internet for it but that doesn't feel very nuanced. Even if operatic pulp isn't your thing, it's hard for me to…

I love her! Semi-Serious Cameron Diaz is actually my favorite. Vanilla Sky, Gangs of New York, Being John Malkovich… those are some daring and original performances.

You must know, right, that the way these lists are made are: Everyone makes a list and their entries get points based on ranking and then those points are compiled into a new list? So a second-place finish for a movie can merely reflect that a lot of people voted for it relatively high, not that it averaged second…

When he's disgusted by the lameness of the indoor thrill ride he goes on, then tampers with it to make it move faster/more violently/more exciting, and they cut to people being thrown from the ride and hanging on for dear life, Bean living it up, DELIGHTED, and ALSO, IIRC, kicking people who are hanging on so they…

Eh sure it is

I haven't rewatched it in ages (maybe ever? I think I saw it a second time on VHS) but I remember it being my least favorite of the four, which I doubt would hold today, but the point is, TND is SLEPT-ON.

If he's my son we're due for an awkward Thanksgiving:

Ahhhhahahahahahaha:::BLLEECCCHHHHH:::

The song itself doesn't sound especially bitter even before Garfunkel wafts in there; it's really more the backstory that makes Simon sound like a jerk. Still, Team Simon all the way, because he writes beautiful songs, and when I saw S&G in 2003, Garfunkel was painfully smarmy… but it is funny to me that poor Art goes…