They are kind of similar. Both have a "just observing, not judging" attitude photojournalist ruse. I'd say this movie is a bit more open-hearted, and a bit more boring.

I think there are good moments in this film, but it's way too long for no reason except to confirm epic-status in its creator's mind, and about a third of the movie is dedicated to teens singing along with rap songs in their van. It's not "poverty porn," which it easily could have been, but Arnold makes the mistake a…

You would be surprised how many writers (novelists and screenwriters) this has happened to. Studios can claim forever that obvious hits have seen no return, and if you don't have money yourself, there's not much you can do about your exploitation.

I have issues with its message, but FORREST GUMP is a much stranger and more subversive movie than its detractors will admit.

I don't think I assigned it generational norms, but it came to be in WWII (with the advent of the "teenager") and so the process of figuring out how to best capitalize on it isn't complete. This also mandates that there are some shifts in the culture that anyone who pays critical attention will like more or less than…

Well, I struggle with all this stuff myself, and go back-and-forth on this debate a little. So the question is: Were your parents wrong? They maybe don't fit into REM's target demographic, but it doesn't mean their experiences and critical faculties are meaningless against it. I guess, the way I feel now (as someone…

I agree with you, but I also think that "you're just old" is an easy reply when there are observable changes in pop culture and celebrity that aren't necessarily for the better.

How we respond doesn't need to be a complex formula. It's a matter of basic decency. Feldman is a damaged dude. He comes out of the same sexually abusive male child star system that led to the drug addiction and OD of Corey Haim, the kid in Point Break, and possibly River Phoenix, as well as the drug addiction and…

It's pretty good, imo, and one of the only mainstream films to be about and capture American divisiveness during the Bush years.

My friend edited this movie. I keep asking if I can borrow his VHS copy, and he keeps changing the subject.

The first movie only works for me as a portrait of mental breakdown—I don't care about the Blair Witch mythos. And I feel Berlinger felt the same when he went into the sequel, but was able to add the "insanity" of the first movie's cult to the the mix. It's a potentially interesting sequel, but we'll probably never…

But the film has certainly dimmed in cultural appreciation over recent decades. It didn't help that it won in the year some were upset Do the Right Thing wasn't even nominated. And then it was criticized by Mos Def's character in Be Kind Rewind, which is interesting because Beresford and Gondry are the two white…

It depends on how you're trying to define comedy. Compared to a lot of contemporary comedies, 48HRS and BHC are much more realistic in tone, but Murphy was still the primary comedic element in both those films.

The first that come to mind right now are Best Man Holiday and Barbershop 3, both of which I think are a bit better than a B-, but fair enough. There are a bunch of others and I'm slightly exaggerating with the claim, but it generally holds true.

The weird thing about Jepsen is she hasn't taken Canada by storm anymore than the US. She has pretty even cult-status in both places, and recently OPENED for Hedley in Canada, who have far fewer fans overall, but a lot more specifically in Canada.

Emotion Side B > Blond
(don't reply to this, please)

The trailer for this movie is incredible, and shows the comic cultural tour-de-force it should have been.

The Purge sequels delve into this terrain a bit. Part two is quite good, but the third is terrible.

I don't see why the panel was the problem. It could have used more time, but it wasn't embarrassing or anything. I just think the writing on the show was inconsistent; some of the sketches were pretty trite. Mike Yard is a smart guy, though, who had a leftist perspective without just repeating internet platitudes.

Todd Phillips is the Michael Bay of comedy directors. He has more technical flourish than his contemporaries, but his stuff is anti-human. He also has no personalized taste for, or feel for how to incorporate pop music—something that's always been under-appreciated about the Farrellys.