Everyone's always hating on Zelda 2. If you ask me (and who did?), Zelda 2 has some of the most satisfying 2D combat and motion ever.

Where's Sans Soleil? C'mon, AV Club!

Also even when their lyrics don't entirely add up, they have a kind of wistful sense of existential something-or-other and a bittersweet passing of time that I really like. (ie, "Hostile Indians, we named our summer camps for you.")

"Some people think they're always right. Others are quiet and uptight. Others, they seem so very nice. Inside, they might feel sad and wrong."

Difference was Somewhere In Time was standard Maiden with guitar synths, whereas a lot of Turbo sounded like a completely different band—much cheesier. Although Turbo Lover and Reckless and the guitar solos on Locked In are all pretty sweet.

One thing that's interesting is that for as tightly as BTTF is plotted, the one thread it sets up at the beginning only to drop is the Battle of the Bands thing. You can imagine an alternative ending where Marty's reward after his adventure is success as a musician in the present. But instead, the movie gives him a…

BLOW OUT!

Power Windows kills. Huge hooks. They turned into a great pop band for a few albums there (albeit one with frequent irregular time signatures). Hold Your Fire starts strong, but gets a little shaky IMO ("Tai Shan" is some goofy shit.)

No way. The plot is moving and morally ambiguous and has a ton of wonderful themes, and the dialogue is unbelievably poetic in places. (Batty's last speech, the confrontation between him and Tyrell, the scene where Deckard tells Rachel about her memories.) I think it's an extremely sad and beautiful film about…

I like Luka. Someone pointed out the bounciness of the melody (with a little minor-key stuff around the edges) is a nice aural metaphor for the way abused people often put out a kind of toxic false cheer just masking hurt/hostility ("and it's not your business, anyway").

"You're a jerk."

He's wonderful in Freaks and Geeks. Not smart, but not dumb, coming from a shitty background but with a disarmingly sharp insight about others. ("Kim's like one big raw nerve.") The episode where he repeats the "track three kid" monologue to Lindsay and then to the teachers is pretty awesome—being treated like an…

"And Ken

I figured they were being sued by this chick:

This is Nanageddon!
that is all.

Holy cow.

The Terminator is way better than Terminator 2 (which is a fun period piece in its own right, but in many ways was the archetype of the "overstuffed blockbuster" we see today - the main antagonist disappears for like an hour in the middle of the movie, for one thing).

But Ebert's review of Bogus Journey is actually way more positive than it deserves! Or is that what you're referring to?

I'm very late. BUT: that monologue didn't make me think of Hamlet so much as Macbeth (a guy who starts out pretty decent and respected and lets his pride turn him into a monster). When Walt says, "I've lived too long," I thought of Macbeth (in the existential black hole at the end of the play) saying "I have lived…

I like the Gaslight Anthem well enough…
…but do they seriously have a song called "The Spirit of Jazz"? Unless that's about the Mighty Boosh, come the fuck on!