GRRRR! PATS FAN ANGRY!!! WRITE WORDY AVCLUB ARTICLE!!! SMASH LAPTOP!!!!

Are you sure this isn't an audio feed from one of his sleepovers?

I know of very few areas where a Chick-fil-a would not be one of the highest rated restaurants.

I don't eat at Hooters or Subway (I'd own stock in Chick-fil-A if I could) but the point was to prove that the wheel doesn't really work that well. Other people might enjoy those places.

This actually makes me feel sympathy for Whedon, which isn't easy.

This thing is worthless. There's a Chick-fil-A, a Hooters, and a Subway literally right across the street from my office and—despite about five different search queries—not one of them ever showed up in the options.

That seems to be the general consensus among film-lovers in the know, with Numero Deux representing the nadir.

I'm still convinced that movie was Joe Berlinger's "fuck you" to people who watched the original Blair Witch twice and never checked out his real documentaries.

I'm not saying that I am Legend, but I am Legend.

Even Nolan fell prey to it in his Batman trilogy. Begins and The Dark Knight were both grim but also had a real sense of mischief about them that kept them lively (especially TDK, even though I still think Begins is the formally better film). But Rises was dour and almost entirely humorless, making its already bloated…

I'm more excited for the Rian Johnson episode. He smokes Abrams and Snyder.

The problem with the films isn't their darkness. It's their dourness. There is a subtle difference but Zack Snyder doesn't know it.

In the metaphor that the film is pushing, the advanced Mecha aren't humanity's descendants but our creation—the Mecha regarded humans as humans regard God.

Everything up to the final five minutes of War of the Worlds was grade-A terrifying. That was a fucking scary movie.

It's a matter of David getting what he wants but only then realizing what it means to love and be loved as a human—the knowledge, usually kept covered in the back of our minds, that it will all end one day. The passion of human love is driven by that latent recognition of our finite earthly natures—even the devoutly…

Actually I would say that the film takes an aggressively agnostic approach to the divine—it's more about the search than the discovery.

AI is without a doubt a film at least partially about humanity dying out, both literally and figuratively.

The fact that they are advanced Mecha is implied in one of the film's very first scenes, where a statue seen through the window of William Hurt's boardroom looks exactly like the advanced Mechas at the end of the movie.

The Flesh Fair was 100% Spielberg. It wasn't anywhere in Kubrick's treatment.

I honestly believe I can't speak for dead men and neither can you. And for what it's worth, Spielberg is a better filmmaker than Kubrick (though I don't deny Kubrick's brilliance).