American mainstream entertainment in the '80s was racist period. Spielberg productions like Gremlins, Goonies, and Temple of Doom were no exception, though he pushed against the times when he could: making a movie about black lesbians was revolutionary in 1985 and still is today.

I think there's a misunderstanding among a lot of new writers about what a critic is supposed to do. Everyone just wants their own views validated by consensus, and though there's some obvious mistakes in Haskell's book, the writer of this article seems way too literal-minded to engage with it.

Robocop seems to have more satiric targets in it, but I'm surprised when anyone doesn't see the satire in Starship Troopers, as Verhoeven hits the same target ("an American war on The Other fought by the Hitler Youth of Melrose Place") repeatedly.

They're not indisputably better movies, though. They do have wider appeal and are more digestible, but all start to seem like different episodes of the same no-style TV show (replete with safe centre-leftist politics). I wouldn't want to sit through BvS again, but it was a real movie, and compared to everything…

I haven't read the book, and you point out some obvious factual errors, but as Haskel is a critic first, you should allow some leeway for personal conjecture. Like, a case can be made that both Temple of Doom and The Color Purple feature notable father-child relationships, even if in ToD's case it's a surrogate one.

I don't really care for any of the Nolan Batmans (which feel like a season of an HBO series, and at least Burton's Gotham looked cool), though I might agree BB is the best of them.

It's funny how it sometimes takes years for the hype-swayed public to come to their senses. The ridiculous consensus in 1995 was that Batman Forever was an improvement on Returns. I mean, it gave us "Kiss From a Rose," but damn it was tough trying to talk aesthetic taste with people that summer.

I actually think 3 is their best album. It's the first to live up to the social precedent of Killer Mike's R.A.P. MUSIC, while the first two (despite more exposure) really could't escape the shadow of that album.

I worry that we've normalized the word "normalize." It was cooler when not many people used it, so I could sound smarter.

Ideology always trumps aesthetics amongst people who don't understand art, which sadly is most internet pop culture writers.

The new EP isn't groundbreaking or anything, but it seems revitalized, and if you like TDS the most, I suspect you'll really like it.

Is this considered a strange opinion? ASS is some of Reznor's best production work.

The Fragile was, at the time at least, Reznor's best work musically and his worst lyrically, which, considering some of the lyrics on PHM, is saying a lot. But NIN still felt like a threatening element in pop music back then. Now Reznor works on bland Fincher projects and just seems like the tech nerd CEO of some…

All three of those movies LOOK good, as Scott's movies always do, but they're all pretty simpleminded. And Legend is unjustifiable for how a movie with so many awesome elements can feel so dead.

Cringeworthy is such a self-defining word.

It isn't subtle. It's devout. That's why it stands out.

What a douche.

It's even more ridiculous when you hear the soundbite, because she reads the line as though it's a brave confession. I mean, maybe she's joking, but then the seriousness of the build up to it is inappropriate.

It's frankly too earnest of an idea for modern audiences to deal with. It's this decade's rave scene in MATRIX: RELOADED.

The landscape is more diluted now, because there's more pop culture than anyone can possibly keep track of. In the '90s, you could be on top of all of it without much effort. Today, celebrities include YouTube personalities and Vine and Instagram stars, and content has ten times as many viewable platforms. MAYBE there…