For me, the downslide began when he stopped working with a co-writer. It's weird to look back and consider that Roger Avary and Elmore Leonard were actually humanizing influences.

Death Proof was contemporary, although with all its '70s fetishization, it didn't really matter.

Yeah, Bayer seems way more indispensable than Zamata at this point. I'd like to see Zamata stay on the show, because let's face it she's fine as hell, but I don't understand what roleplaying prowess people here think she's shown. Admittedly, this is in part because she's been given few opportunities to shine, but…

This was a weirdly structured episode in that (American Ninja Warrior notwithstanding), it started terribly and then got quite good in the last half. But I liked Drake's first SNL hosting stint better. He wasn't playing so much into the easy emo-rapper jokes that time, and it just felt sharper.

Weekend Update has become the most dependable part of the show, at least when it isn't spending too long on a correspondent cameo.

De La Soul is Dead
The Reality of My Surroundings
Badmotorfinger
Death Certificate
Use Your Illusion II

Preacher (I'd understand liking this if you're a teenager living in the '90s, but you're not), Neil Gaiman-as-prose-writer, Beyonce (talented, but boring), the movie Once, Blue Jasmine, 12 Years a Slave, Seth Rogen as comic personality (he's a likeable dude, but he's never said anything funny yet, and nobody questions…

I didn't always dislike it, but I watched it again on its IMAX release in 2004, and it didn't hold up musically, narratively, or in terms of its animation. I think Aladdin, Mulan and The Little Mermaid are all a lot better movies of the Disney Renaissance.

I'm not a big Nolan fan, though I admit he's talented, and I like THE PRESTIGE. His films just seem very literal-minded and prosaic. Like, all the connections in TDK to the War on Terror are just so underlined, there's nothing to think about or process emotionally, yet it strikes a lot of its audience as…

I agree it's strange. But I'm not sure you can explain someone into liking a Lynch film, as they're always more emotional than intellectual. You have to get on Mulholland's wavelength where you really feel it.

I really like PONYO, though agree with your point that it's not generally considered a masterpiece. I need to see HOWL's again, which felt like a letdown at the time.

I agree about KID A (the point where Radiohead stopped being interesting, and redefined itself as boring-interesting) and THE DARK KNIGHT (whose fans deserve to be challenged more), and I sort of agree on FUNERAL. MULHOLLAND DRIVE is a masterpiece that attains to levels of emotional longing few movies this new century…

I think Wheatley's a bit of an aesthetic and intellectual-poser (Kill List is braindead, but A Field in England came close to amounting to something), but I don't yet feel I have a grasp on all that he's about yet, so thought I'd give this one a chance. But your final sentence rings an alarm—he uses shock value to…

I agree that the sequencing of the album is a huge problem. It has some of the only Radiohead music I find interesting in the last 15 years, but the best songs (Myxomatosis, A Wolf at the Door, The Gloaming, A Punchup at a Wedding) are all in the last half.

Sure, but their sound/style changed dramatically after the '80s, when they became "mature" (rock speak for boring). The first four albums still hold up pretty well, and One Hot Minute has a fresher sound and songwriting (of course, the band and their fans don't seem to like it), but these guys watered-down their…

I was sixteen when it opened, so maybe it was more of a middle school thing. Again, I remember it being *liked*, just not to the degree of something like DAZED AND CONFUSED, which really was a VHS/house party mainstay.

THE CRAFT didn't have a lot of widespread teenage popularity at the time of its release, and THE CRUCIBLE had virtually none. So I'd be hesitant to label '96 The Year of the Witch. But it's been interesting seeing a later generation take to certain films that weren't huge at the time. CLUELESS was another (a film…

About a dozen completely sheltered dudes on some unswept corner of the internet are upset that the new Ghostbusters has women in it, and it becomes the entire promotional hook of the movie. This is why everyone is so confused about human life.

Hey, man, everybody knows that there had never been a heroic role for a woman in movies or television until Fury Road came out. Stop trying to rewrite history!

The first half of it is pretty solid, just in how it's one of the few slasher movies to actually register the weight of death. Once it starts going through the motions of the Carpenter film, it becomes pointless.