Don't forget Knightriders, easily his most underrated film.

More accurately, the first half, where nothing is happening, is twice as long, and apparently none of the deleted material was from the half of the movie where things were actually occurring.

I don't mind the longer running time — fleshing out the characters makes the film more emotionally involving and impactful. Frankly, I think the director's cut feels faster than the theatrical one for exactly this reason.

Fridging Marie in the opening scene doesn't raise the stakes. It kills them. Yes, it's brutally, viscerally effective due to its abruptness, but it waste the most interesting and engaging character, while badly narrowing down what the story is capable of.

The director's cut does not get enough credit for how much it improves the film. It's very nearly a Kingdom of Heaven-level improvement. But even in that, the Hector/Achilles fight just walks away with the whole movie.

I actually slightly prefer the endlessly imaginative Pirate Planet to the (hilarious and brilliant) City of Death, even of CoD is far better directed. I think if PP had been directed by not-Pennant Roberts, it would be every bit as beloved as CoD.

I also get the notion he was kind of freaked out by the sudden weirdness of stardom and fame. It was a complicated mess of reasons.

Here's hoping it has as kick-ass a theme as Randy Edelman's for Dragon.

Oh, absolutely. It's not by any means a one-to-one comparison, or anything near it.

I hate to say this, but Trump may not be entirely wrong. Had Jackson been president in the 1850s, he would have sent in the army long before things escalated to the point they did, given his actions in the Nullification Crisis. That doesn't mean there wouldn't have been a war, but it wouldn't have been as long or…

Yeah, the first few are enjoyably dumb, no more or less, but then out of nowhere, 5 is just straight-up awesome, and 6 and 7 continue in its fine tradition.

Not to mention that slippery, unidentifiable accent, almost a mockery of mid-Atlantic.

"At least the Moore movies had those sweet John Barry scores."

Videodrome must be the Cronenbergiest of Cronenberg films. Stomach-churning special effects blended with cold, intellectual science fiction (which remains remarkably relevant long after VHS has gone the way of the Dodo), and all of it weird as Hell's acid trips. And unlike some of his other works like Scanners, I…

Actually, he mentions on the Braveheart audio commentary that he doesn't like extensive opening credits sequences, preferring to jump right into the ultraviolence story and hold all the credits for the end. Hence why Braveheart did it before it was cool, as do Passion and (if I recall correctly) Apocalypto.

Because what The Untouchables really needed was to ditch the Morricone music for droning ambiance and for the gunfights to be shot in incoherent queasy-cam.

Man, that one really takes you by surprise. And then makes it long and brutal, just to rub it in.

The Fox and the Hound is a far more egregious case. Gurgi's restoration is a fairly typical fairy tale happy ending thing. Chief surviving being hit by a train and thrown off a cliff undermines the entire conflict of the film. (It was that story decision that drove Don Bluth and co. out of Disney.)

It's sort of a coin toss, really. The first season isn't that bad, given some slack for its low budget, and it establishes a lot of things that pay off down the line and draws an effective baseline for the rest of the series. But it really does improve massively in Season 2; Season 2's average is above Season 1's…

Somehow, "tied together" is not a descriptor I would use for Apocalypse Now.