There are a lot of actual laughs in the movie, despite there also being a lot of not-laughs.

The Farrellys style changed considerably in the 2000s with Shallow Hal, Stuck On You, and Fever Pitch. When their new style, a sort of freak-humanism (and those movies are great), was shoved aside for inferior Apatow films and movies where comics like Will Ferrell just show up and improv, they went back to the old…

Interesting point.

I don't much like it either. Home Alone is the smarter John Hughes Christmas script about the protecting of upper class fortune.

Correct. It has some Farrelly sensibility, but they didn't write or direct. It isn't very funny, but it doesn't count.

I think it's great. Stuck on You and Fever Pitch are their most subversive movies, but were less obviously outré than the comedies that made them famous, and never caught on. There's a bit of that style already in the very good Shallow Hal, where abnormality is what's humanized, and the audience only feels a threat…

Fever Pitch and Three Stooges are both great movies. Me, Myself and Irene has a terrific gag about Jim Carrey trying to bond with his three black sons, but is overall too long and uncentered. Heartbreak Kid is their worst.

Yep. Great cast, but the problem with AHS is that it's so damn phoney, the type of junk made for people who use the line (without regard for quality), "I like scary movies." But it's so opportunistic; the creators don't feel this stuff in their bones.

There's a weird experimental side to Mellon Collie, so it's not that it's some would-have-been hit, but songs like that really contribute to the varied adolescent temperaments of the whole.

Everyone who tries to make single album edits of Mellon Collie doesn't understand that record. It's like trying to make a 90-minute cut of Lawrence of Arabia. The sheer size of the thing is the point. There's no filler on it.

IN AMERICA is set in an amalgam of various decades, like BLUE VELVET. In its case, it's a conflation of the '80s, '90s and '00s.

This is an odd topic for a list. Before Michael Moore transformed the popular perception of documentaries into thesis-based essay films, they were largely driven by this uncertainty of where the film and filmmaker would be taken.

The first half of Death Proof is straight horror, as well as elements of the second half.

Sin City's whole philosophy is wack and hateful. It's not something everyone can shrug off due to "intent."

FAST FIVE was the best since the original, and was released the same year as FINAL DESTINATION 5, also the best since the original, which still holds that status because the concept was fresh and it's the only one to take its premise's emotion seriously.

Redford screaming "FUCK" as his first word at the midpoint was the most annoyingly calculated use of a "PG-13 one f-bomb allowance" ever.

I think 127 HOURS is a lot better than BURIED, more knowing about the impact of life and death, and less clearly a stunt. I also think 127 HOURS is a lot smarter than ALL IS LOST. It kinda snuck up on me as I never liked SLUMDOG MILLIONAIRE.

I'm not complaining about lack of outrage toward black artists. I'm complaining about how "pop feminism" sites are more concerned with fashionable appearance than independent feminist thought or actual leftist social justice. Now excuse me while I log into Jezebel and read some patronizing racist reportage about how…

How dare you have a mind of your own! You clearly have an Internet. Looking up the accepted right opinion isn't that hard.

Push-button Internet-outragers would never attack Pharrell. He's black, and cultural difference, and, well, they're scared of him and how that might look.