I'm actually kinda okay with that and I went with a kind of magical thinking to get me there, since he is the lead after all. (I think it'd be neat to play as someone else to rescue first.) I was more, put off? Not quite. I was weirded out by the appearance by a few other people who I thought were dead, or ought to…

I love Kore-eda and I saw this as well and, oh man, yeowch. But I do see what led you there. I got more menace in my viewing, but I definitely didn't see feel it was the inevitable noir that this reviews suggests and thought some kind of other turn might be coming. I don't know if it needs a spoiler tag, butmy…

I'm usually primed to dislike moments of "let me tell you about things the audience should have already paying attention to," but I didn't find the later Toshio/Akie argument on the nose, rather a relief/release. I watched this in a screening paired with a Q&A with Furutachi, and "on the nose" sounds like the short…

I do and immensely enjoy it. He lets his persona slip a little bit in it, which I like since it sometimes crowds his writing.

That's the one where he ends up outside the ship with a ripped spacesuit, right? I remember thinking that if they'd just seeded previous episodes with a stray comment or two about Apollo being missing, it wouldn't have seemed so disposable a storyline.

I got as far as you did. I could probably deal with the miserable thing, but people were so dumb and plots were so dumb sometimes…maybe if it wasn't self-serious and so frequently dumb. Just one or the other, I would've gone on.

Warren Ellis described it best—first three episodes, last three episodes a season. Every thing else is wheel-spinning. Those first three episodes—some of the best tv ever.

Having just heard an interview with Ice Cube about the documentary, nah, you don't want him speaking extemporaneously. He seemed to need a lot of leading.

I don't know why I care, but I just want to give the narrator all due praise in a non-roundabout matter. If it's perfect for the tone and material, then it's "bad" purposely done, and good after all.

Of course viewership matters—they don't want anyone cancelling over a show but they do want people signing up for one as well if they can. Weirdly, their best case may be someone who signs up but doesn't watch, but that's a terrible business plan. They can however see how many stick with it after one or a few…

Nope, it's actually a straight category of books targeted to adults, like Sudoku that's a current hit, that's popped up for a couple of years now. There are still plenty of color in butterflies books too, so the category isn't a content label, though I suppose they're more intricate than the designed for kids variety…

I know I'm being a humorless pedant, but "adult coloring books" are intended for adults not children, that's why you threw in the modifier. Then again, I'm working my weekend proofreading.

Hero being a propaganda piece is undeniable, but I always wondered how much resignation/ambivalence we're supposed to read in Tony Leung's character. I can't tell if that Zhang Yimou doing it or just Tony Leung. I tilt toward the latter, but it's there.

For what it's worth, Greengrass is a much more coherent director of action than Liman. I found the ones he did smoother.

I think the amount of "commentary of our times" in the Bourne movies is oversold—hell, Taken's amorality may be a better commentary of what we're like, but even if the plot's the same in the Bournes, Peter Greengrass is a stronger director I think. I do generally like the later ones a bit more, and for me it's the…

Their Marvel shows have enough success that even one bad one won't sink it—though they might think on cutting back. All Marvel stuff has inertia and infastructure now. Bojack has quite a bit of continuing critical acclaim. Sense8 had coverage when it came out, but I don't get the sense that it was remotely as popular…

Was it well received? I didn't follow it, but the impression I got was that it was fun and had it's fans, but middling. Certainly coverage didn't pop up as season 2 arrived beyond the fans. Mind you, I think Netflix has achieved critical mass of shows enough that they probably want to cut back in general. They have…

I saw the headline and I was poised to snark on it, tired as I am of everything in pop culture being indiscriminately the best or vomit—but you know what, this one is one of the best.

Hmm…I loved it as a kid, and I still remember the cliffhanger ending. That said, we've got to come up with another word for "old thing I remember" other than classic. It's really just an old show we remember for the most part.

I admit I liked Bioshock's turn, but that I took it more as a meta commentary about video games play and immersion and interactivity, rather than a straight compelling narrative. Which is funny, because Spec Ops: The Line has a similar railroading moment that's the lynchpin of that generally well regarded game, which…