Probably not? But then I don't think we can or should just completely discount intent from someone's comments either. Particularly when casting judgment on that person.

Oh I agree, but then it's not exactly like he's of sound mind either.

I like RDJ, but he's settled into his semi-improvisational style now for everything. Honestly I think the best actual performance he's given since IRON MAN is TROPIC THUNDER.

I don't remember that clown mask being in the book and to be fair, the car is kind of inconsequential to the rest of the story.

FULL DARK, NO STARS is a great short story collection, 1921 in particular is one of the best things he's written. JOYLAND is a good crime story that has vaguely supernatural elements. DR SLEEP is half great (Anything which deals with Danny Torrence) and half bad (Everything else). People didn't like REVIVAL but I…

I prefer FINDERS KEEPERS until literally the last page and thought that King couldn't help himself. It's a shame too. Like DR SLEEP, the best parts of END OF WATCH are the character studies and it made me wish for a second time that King would just write a straight-forward book because he's actually pretty good at it.

To be fair everyone rolls their eyes at that kid anyway and points out that he's an idiot for descending into stereotypical jive talk.

I mean lets not pretend that RDJ can do anything other than play RDJ these days either.

Yeah, just like alcoholics I've known. If he was stone cold sober I would think less of him, but having worked with people like that and seen similar outbursts I can't help but think that the kid just should get help.

I don't know, Terence Howard does alright for himself. As does Chris Brown.

I think there's a big difference between saying that someone should get raped "by a pack of niggers," and shouting shit that you know is going to get a reaction. I don't know what to make of Gibson to be honest, but Shia's comments seemed to me like he was trying to provoke them.

To be fair, Bay recently said he'd love to work with Shia again provided that he can behave himself.

It's interesting in that yes, I think he really did turn a corner. It fits the theme of the show, which is that it is 25 years later and time has taken it's toll on these people. Some of them have died, are dying or have grown. It comes across in his last scene with his secretary, but there's an air of 'Once upon a…

Yeah I was being a bit facetious with that remark, but it's still odd that not only does Diana show compassion, she just outright lets the woman go. There's probably a balance between killing a war criminal and letting them escape to Brazil.

My favourite "huh?" moment in the movie is when her mother says "As you know, once you leave you can NEVER EVER come back," and everyone just accepts it. It's a weird, blatant way of getting out of showing any of that stuff again.

Nah it shows her being let go by Diana. Quite why she gets compassion I'm not sure as the rest of the movie shows how desperate she is to create a perfect killing chemical and then vaguely making out she does it to impress the object of her affection.

Yeah but killing of Steve really kind of cements Diana's character and how she views the world. As good as Pine and Gadot are, bringing him back is nothing but fan-service. And that has never gone well.

I think it's in part coming off of SPIDER-MAN 2, which is still the standard for superhero movies as far as I'm concerned. It also has a long and troubled production history (thanks to Avi Arad) that meant the finished movie was part of what Raimi wanted and part Arad forcing in every shitty decision he wanted and…

I think I preferred the second one. It had the better mystery and by far the better kills (I'm pretty sure the first season stopped killing people after like episode 6). Plus it manages to retcon one character's bad acting into a character trait.

Fun fact: The financing for that movie was literally cut in half like the week production was due to start, so it had to be hastily re-written so they could do it on the cheap. Still, I love James Woods in that movie.