Wait . . . Jesse Hassenger is Richard Brody?!

A better eye? Seriously? There’s barely a shot in this that doesn’t look like TV. It’s visually flat, mostly overlit, graphically uninteresting.

Aaron Sorkin really is the least hip man alive.

There’s certainly a special circle in Hell reserved for anyone who uses the line ‘an odyssey of comedy and melancholy told through the joyful prism of melody and dance.’

I watched and enjoyed this first season of this – then read some interviews with Soloway, and was unable to continue: an unusual example of a creator making their own work unbearable.

That speech, and its movement from bravado to a kind of baffled, rueful pride, shows just what a terrific actor Hemsworth can be.

God help us if GiamattiSaves ever hears about Blumhouse.

He’s about the only one I rate.

Guess you got me, knappster.

You’re a nosy fella, kitty cat.

So this . . . thing . . . gets the same grade from you guys as ‘Diane’, huh?

It does sometime seem like FC Berlin’s crowd are dropping in on the match during a breather from Berghain.

You may be right. They’re definitely worse than a ratbag, though – I think we can agree on that.

Grades for films are bullshit, generally. This one is bullshit especially.

Get a black dog up ya, ya goose.

That’s that gosh-darned European socialism for ya. They want every fucking penny.

Statham cut me off in traffic last year. Slapheaded twat.

Glad to see this small, excellent film getting some attention. Romane Denis steals every scene she’s in.

Yeah, there’s no other way to read that but that he’s gone. It’s not even so much the timing of the cut, from the profile shot of her turning, timed to the end of her line, to the Medium of her looking (which, along with her look, suggests that he’s not there) – as the decision to hold on it, in silence, without any of…

Deep cut, well played.