All five of us who saw Casa de mi Padre enjoyed it immensely, I swear!

There’s actually a really fun podcast called “This had Oscar Buzz” that’s dedicated to, well, clear Oscar bait that notably failed.

I just have to say that that’s SO COOL

Is it a hit book series? Honest question. I worked at B&N for three years and it always seemed like an afterthought in the teen section, down to the cover design. I don’t think I saw anyone buy one of them.

This is...kind of devastating, actually. But someone with your talent and insight can’t be denied, O’Neal. I’ll be happy to read more from you wherever you end up.

I think the strength and the weakness of the first two X-Men movies lies in scenes and character development.

Just between a man...

You have my dollar.

Ah, I was just thinking that I hadn’t seen you recently! Good to hear from you.

I’ve never read any Spawn, so I can’t say how well it does or doesn’t do this, but generally you set up arcs.

You know what I’m going to say it.

I had no idea The Heroic Trio existed but now I desperately need to see it.

We can only know of the world through the brutality of asinine alliterations...shared by a man...

“Maybe the washed-out cinematography is supposed to help with that. Instead, it succeeds primarily in making an already-white movie look whiter still. Even the sky looks Caucasian” and “as if directors Andrew and Jon Erwin have primarily experienced other movies out of the corner of their eye, or in bits and pieces at…

I really liked the Julia Child portions of the film, but also came away from it wanting way more Paul Child.

They will, but they’ll be exclusive to Media Play.

I wonder what the logic for making it a sci-fi piece was, other than “rip off Blade Runner’s look.” From the sound of it the plot may have been a bit less strained, at least, if they’d kept it as a straight up crime piece, probably a period one (clearly 70s mustaches are also a desired aesthetic here).

Legally Blonde, which hit in 2001.

I’m another who’s very happy to see more actual articles about film on the site again! Thank you, Caroline, this is a promising start to a look at the elements that go into romantic comedies and make them work (or not).

It’s always interesting to me how people mention the artificiality of Burton’s Gotham, because for me, while it’s obviously artificial and filmic, it ends up feeling more real than Nolan’s. I think it’s partly because of that unified, personal vision, mashing together Lang’s Metropolis and film noir and whatever else…