I am definitely not praising originality over all else. I’m a genre guy, so I get that tropes and cliches can be used creatively in service of narrative efficiency. And really, if you think the story you’re telling is totally original, that tells me that you haven’t experienced enough stories. I just really hate this…

Or in They Came Together, how every scene either ends with someone stopping the other character from leaving by saying “Wait... [pregnant pause, head tilt] Thanks” or letting them storm off and then muttering “Shit” to themselves.

I remember watching an episode of the Flintstones when I was like 9 and realizing that every plot involved Fred lying about something until the last five minutes when he had to come clean, at which point everything worked out for him just fine. I never watched another episode of the show and have had little fondness…

Sorry if I came in hot on that one. Here on the new AV Club, it’s hard to tell who’s on the attack and who’s just trying to get a discussion going on.

Yeah, I write. Not that I think there’s a lick of sense in your apparent defense of that last resort of the thin-skinned (“If you can’t do it, you have no right to critique it, which is why I never complain about politicians or potholes on my road or bad restaurant food.”) but I don’t do that shit. And if I came up…

I’ve lost almost all of my tolerance for the sort of lazy contrivances screenwriters resort to when they haven’t figured out a way to maintain conflict and drama in the story without denying the characters all the information they need to act in their own self-interest. I hate it when all a character has to do is use…

I disagree. I think it cracks the top five. That said, in the Baby Driver making-of, Flea said he was excited to be in the movie because he’d never been in a car chase scene before. So apparently he either agrees with you about The Chase’s worthiness or he’s completely forgotten he was even in it. I’m leaning toward…

These Disneytron Comic Relief Sidekickbot 2000s are always malfunctioning. Time to throw this one one the same scrapheap Josh Gad ended up on.

The commentary track with him and John Heard, obviously still bros after all that time, is a classic.

The AV Club must have some kind of vendetta against C.H.U.D. If they didn’t mention it in John Heard’s obit, they’ll probably never mention it.

LITERALLY EVERYBODY: Nothing I’ve heard or seen has given me any reason at all to believe this won’t suck.

I wouldn’t go that far but I don’t mind him at all when he’s not trying way too hard to be funny.

If Jim Carrey didn’t exist, Myers would be the epitome of the kind of desperate-for-validation comedian where I feel like I’m enabling him if I laugh at his jokes.

These Funny Or Die parodies are getting more elaborate by the day.

Every day, my decision to not watch these movies anymore feels a little more justified, if only because it means I never have to form an opinion about any of this crap ever again. I’m free.

It’s amazing how little movie there is in both those movies. There’s just nothing to them at all. No story, no stakes, no nothing. They’re basically just illustrated soundtracks.

Not true. Raekwon addressed this serious topic decades ago.

Oh sure, it’s easy for YOU to condemn baby-eating. But what about all those starving cannibals in the Third World, huh? Ever think about them? Your privilege sickens me.

In retrospect, it shouldn’t have been a surprise that Blade’s mom is a biter.

How is making a library book available to the kids who want to read it “force-feeding?” Should we remove all science books from every library where a moron Creationist might accidentally stumble upon them and feel assaulted with unwanted knowledge?