The Jeunet-Caro movies are so, so great.

I'm pretty confident it will get a new season, and don't put much stock in people saying that we would have heard by now (the CEO appeared with the Bots in a promo bit, for crying out loud). It's a pretty unusual show to put together, and the last season was Kickstarter-funded, so I would assume a new financial model…

It's nice that Netflix is presenting this thoughtful tribute to the late Sir Roger Moore.

Yes, it does.

The fact that each episode will be 90 minutes pretty much guarantees I won't watch it. I hope this show is good - as a Dracula fan, I really do. But there's too much good TV for me to watch, so 90 minutes per episode is asking a lot.

I watched Tomorrowland last month and found the first act pretty wonderful, the second half OK, and the climax unsatisfactory. If you're promising a fun ride through Tomorrowland then your climax damn well better offer that. Still, I liked the message of the film (even if it was delivered as a lecture).

I rewatched Midnight Madness for the first time since I was a kid, and I was really amused by the introduction of Leon. He reveals himself and everyone groans, "LEON!" Like the audience is well familiar with Leon's antics from all the many Midnight Madness movies that came before.

On Eddie Deezen's website he writes in all caps. It's perfect.

Yep! I should have clarified.

I was really disappointed when they released them on DVD as 2 separate movies, because I thought they both suffered being viewed individually.

I actually feel that way about Reservoir Dogs, of all things. Yes, it's good - great performances, great dialogue - and I've seen it a few times, but it never really connected with me. Maybe because I saw it after Pulp Fiction, so it never impressed me that much compared to what he was doing post-RD.

When someone says something is "boring" or "dull" I tend to ignore their opinion until I've seen/read the thing myself. I would not call Kill Bill either one of those things. In the quiet moments it still feels very much alive (and tense).

I thought Death Proof worked gangbusters as part of the whole Grindhouse experience. I saw it opening weekend. It's a looong film, so by the time you get to a QT movie where people are just hanging out and talking, it's oddly a relief after Planet Terror. (Even though the dialogue is not exactly very good by QT…

I'm not digging this revisionism.

Yeah, seriously, what happened to the Whole Bloody Affair? He talked that up for years and years.

I'm so old.
*dissolves into the muddy earth*

I tried this last year and ran into similar problems. I could cut it down to just the most commercial songs, but then invariably I would lose the really interesting, eccentric, or "slight" songs that I actually have really come to think are essentially "White Album."

I met someone once who caught on that I liked 60's psych music, and he said that he bought a copy of this album called "Forever Changes" and he hung it on the wall because he thought it looked cool, and he wondered what it was like.

I was really disappointed in The Hateful Eight (and I saw it in 70mm as part of the roadshow presentation)…yet at the same time I had to admit it was full of great performances and some first-class filmmaking. I just much prefer the "slow" first half to the violent second half.

I agree that your suggestion would be a good move for QT at this point to return to a contemporary setting, but I think the "movie movie" approach of Inglourious Basterds was pretty brilliant. It commented on film being used as propaganda by making the film itself turn into propaganda (albeit anti-Nazi, instead of…