Joss Whedon didn't write that one, though…

The Weinstein-butchered version, or the recent Restored Director's Cut?

Well, mileage clearly varies. It was one of the few recent movies where I didn't feel that I'd been ripped off, to the point of joining the handful I've ever seen more than once in theatres. Visually beautiful, emotionally moving, and overlaid with so many layers of mythological symbolism that I immediately went out…

Can you post a pic of them?

Do you mind her seeing semi-explicit, if arty, enthusiastic consensual sex between spouses on film? And possible discussion of possible Flowers In The Attic situations? That might be more awkward than the violence, but maybe not, just something to consider.

Rewatch Blade 2 as a dark take on the myth of Theseus, and a dark AU/fixfic of The Tempest, with nods to WWI, WW2, and the Crusades. It'll leave Blade 1 in the dust when you spot the mythic and historical allusions. (Mithras is in there, because "i vs i" is on the soundtrack, for a hint.)

Pfft. What makes Gaslight so moving is the thought of all those missing diamonds belonging to the murdered owman! And the fear of being sent to a mental hospital, not what else it signifies!

Aw yeah, Wilkie Collins FTW! Definitely in the mix. (And wouldn't Peter Dinklage be perfect for the role of Miserrimus Dexter in The Law and the Lady? Hm, that has a hero who goes off to fight in an earlier Spanish Civil War, too…)

Classic Hammer Horror, with Merchant Ivory production values — a win/win, for me!

The ghost wasn't scary, what killed him was (and the fact that we didn't know what happened, and even when we did, there was no clear way of stopping it from striking again.) Psycho-scary, combined with Gaslight-scary, because family annihilators are something all too real and close to home, even without a war on.

It's horror the way that Gaslight or The Lady Vanishes or the real Wicker Man is horror — dread from the unknown and the horrible implications behind it, not meaningless violence propelled by jump scares. Classic horror is what del Toro does, where the brief moments of gore are all in service of character and…

He's in the commercials that I've seen.

I guess you don't like submarine movies, then? Because that's what it was, then — an homage to 20,000 Leagues, kraken and all, and to Gray Lady Down and Red October.

Some of us actually appreciate naval combat sequences for what they are. And you like Michael Bay's Cuisinart fight scenes, so your taste in action sequences is dubious.

Every single monster movie that is set in broad daylight has turned out to be a mistake. They stop being as scary when you can see them clearly. JRR Tolkien even pointed out that it works that way in prose — you never really SEE Grendel, he's this vague shadow coming up out of the night, seen by the glow of coals or…

The hurly-burly of the Sydney battle, the Mungojerrie-and-Rumpleteaser catfight at the bottom of the sea, the luchador moves in the Hong Kong harbour fights!!!

Wow, you're nigh alone in that. My reaction, and the general critic and audience reaction at the time was almost universal that the fight scenes were powerfully sweeping and dramatic, although I find they DON'T freeze-frame well.

He worked as a junior on Branagh's detective show, which is why he was cast for Thor, and that to me says he's an actors' actor, not a posh git like Cumberbatch, who I just cannot buy as anyone but himself, I don't care how much Tumblr loves the man.

Au contraire, Austen's fic is about conforming to social norms in the end (even if she didn't in her personal life!) to win worldly success, a sort of secular prosperity gospel, and Shelley was a a 2nd-gen societal rebel. It's the bourgeoise-vs-radical divide, although it's also the rationalist-vs-fantasist thing,…

Mary Shelley wasn't Victorian, she was a contemporary of Austen. Think Regency, Napoleonic Era, not Victoria — Age of Revolutions, and Shelley was a definite Rebel, while Austen was more conventional (though she did appreciate the gothic rebelliousness, it just wasn't for her. She kept her outrageous stories for…