I had the biggest crush on Sissy Spacek when I was in junior high, after seeing Carrie and a tape of her SNL appearance.

And the award for best male performance in a sped-up tuxedo-fitting scene goes to…

…And then the four year old started saying "they're all hour to laugh at you!" over and over and over and over.

Cheat Code Central or GTFO.

I started playing Oxenfree this weekend, and I will honestly say that when I realized the game had a map and "objectives" and wasn't a strictly linear "shooting the shit with your friends plus aliens or whatever" simulator, I started to lose interest. But I'll probably stick it out.

That can be demonstrated through any number of visual techniques; frantically cross-cutting between different views of a car chase is a sloppy cliche. Ditto the fistfight on the painters' scaffold at the end of that sequence - the framing is too tight and the editing is too aggressive to convey the physicality of the…

I saw GoldenEye for the first time last month, and Jesus it was tedious. Parts of it are dated in a 90s way (like the score), but overall it felt much older - I know that character actors with silly Russian accents and women with campy sex-pun names are key parts of the Bond mythos, but watching that shit is just…

Quantum of Solace actually lost me from the first scene - the direction and editing was so frantic that I couldn't get into it. The other Craig movies are much more graceful looking.

Honestly, I don't think it's a coincidence that the strongest Craig movies (Casino Royale and Skyfall) are the ones that don't try to serialize their stories - the movies aren't tightly plotted, and the writing isn't cohesive enough to stretch one movie's story into another movie.

Honestly, of the older Bond movies the Dalton one are the least tedious to me personally - at this point I don't find stuntwork, acting, photograpy, or setpieces of the Connery/Moore/Brosnan movies interesting enough to sit through the arch misogyny, camp, and incoherent plots. License to Kill, in particular, is a…

Honestly it also really helped that the OJ trial is more than 20 years old and involved two victims, one alleged murderer, and a team of hired professionals. Katrina was more recent but also the sheer scale of the tragedy makes it difficult to winnow down to ten episodes without seeming exploitative.

I though it was clever how they start the scene with the text "Juror Deliberations - Day 1." It was a clever joke - especially ince I'd forgotten how long deliberations went.

According to wikipedia after he wrote the book the Goldman's sued him for the rights to publish it and are actually credited as the authors - so he definitely didn't make money off of it.

They dropped in some subtle moments - like Ito watching the "Dancing Itos" on TV (though he seems more chagrined than delighted) and also the way that over the course of the series his entry greeting changes from "please be seated" to "good morning." Also, the constant, hollow threats of holding one lawyer or another…

Also, after the photo montage at the end I feel comfortable saying that IRL Darden was by far the best looking person involved in that trial.

Late to the party, but anyway - I'm pretty sure the Innocence Project introduces DNA evidence into appeals, which is conceptually different from refuting DNA evidence in a trial. For one thing, DNA analysis is better at establishing two samples aren't from the same person than establishing they are. That's aside…

It's also where a big chunk of The Stand takes place - I assume that's the joke.

Tangential, but seriously Marvel, your studio has the rights to one iconic villain, you do the decent thing and cast Hugo Weaving to play him, and then YOU KILL HIM OFF AFTER ONE MOVIE? Don't worry, guys, Helmut Zemo is way more interesting than Captain America's horrific Nazi doppelganger.

I was joking - he had no way of knowing that the studio was going to go bankrupt and his own reputation would eclipse theirs. Though if anyone was going to steal his own movie, it would be Welles.

I remember some of the compositions more than the camera moves - he made the most of those pyramid sets. That's a movie I'll have to see again soon - the plot is unexpected (Coppola's Dracula owes as much to Freund's Mummy as to Stoker, including the slabs of white bread filling out the protagonist roles).