Yeah, even aside from the bizarre need to criticize the merits of an artist whose career the commenter avowedly knows nothing about, this notion of some appropriate ratio of credited collaborators per track reflects deep ignorance about the past and present of credits for composition and production across genres. From…

Really good band.

Holy shit. I had no idea he was ever attached. That could have been (could still be?) great. The adaptation choices in the script (as with most Scott projects) would make or break it, though - it would require a deft touch.

I figured if I put the lob close enough to the basket, someone would throw it down.

DON'T WATCH LOST

I'm with you. Mother and Snowpiercer have really strong qualities, but The Host is the best I've seen. (The commentariat is reminding me that I have to see Memories of Murder.)

Jesus. I've said elsewhere that I really need to see it, but better than Zodiac? Holy shit. That's a high bar.

I remember the last time Bong Joon-ho came up in an article or review how uniformly positive people were about Memories of Murder. For some reason I ended up watching Mother instead (which I only liked…until the last twenty minutes or so which I thought transformed it in a great way.) The recommendations I'm seeing…

That was a great moment in a great interview.

Yeah, I mention to Jake above/below that I really need to see that one. And you're dead on about his style from what I've seen — Mother executes some unexpected shifts as well (though less intensely).

Agh, that's the one film of his I haven't seen (other than Barking Dogs Never Bite, so really it's two). I hear great things all the time.

I liked a lot about Snowpiercer, but The Host benefits in comparison from the incredibly difficult juggling act it attempts (and accomplishes, I think, which you did a very nice job describing in your comment above). If I had to pick one, it'd be The Host, but I'm still quite glad Snowpiercer exists.

This sequence is great and deserving of its treatment here, but I would add for anyone unfamiliar: The Host is fantastic in general. It's tonally complicated, as D'Angelo suggests, which can take some adjustment, but if you bear with it it manages to be incredibly tense, very funny, and deeply moving at various points.

Yeah, I'm excited to see someone do a deep dive on the samples/interpolation/choices behind them. Always love reading those when a major mainstream release with interesting choices is (somewhat, in this case) sample-heavy. The TLOP pieces were fascinating.

Correction to your correction, just for the sanctity of the critical historical record of the AV Club: it is the horn line, just an interpolation rather than a sample. Organized Noize confirmed.

I had several Controversy intermissions, but yeah, I dig it.

Yeah, I'm persuaded.

I feel fortunate to have gotten to see it in 3D in a theater, no question. I have no idea how it would come across in a home setup, but I hope it's eventually seen more widely. I've softened a little on the technique over the last couple years (Fury Road had some nice, relatively subtle moments) - I still think…

I had seen Breathless - and that's it - before Goodbye To Language. I thought it was largely fantastic, but I can imagine anyone with a low tolerance for certain archetypal art film elements having trouble with it (as stuart mentions above/below). Depending on your interest in striking uses of 3D, it might still be…

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