It's funny, cuz it was their cover of 'Faith' that initially drew me in (I'm always up for a little desecration in my cover songs), but their subsequent stuff eventually turned me off.

Considering Whedon has 2 movies in the top ten of all time grosses, and Snyder doesn't, it shouldn't be difficult for the studio to feel comfortable.

….and a partridge in a pear tree.

Nah, considering Ron Howard's involvement, it's more like cautiously pessimistic. Then again, I'm no fanboy of the series, having given up after the fourth book.

I thought the same thing, until I saw a much smaller version of the poster on another site, and then it looked obvious. Seriously, that's a lot of lens flare.

It's so dumb to do this movie without any context whatsoever.

I can see the good bits in Speed Racer and Cloud Atlas, but with JA all I got is 'chandeliers in space'. Please defend it to me.

The only problem with the Robocop reboot, and I'm being serious here, is that it was a reboot. In a universe where Verhoeven's masterpiece doesn't exist, the new one was a well above average sci-fi action flick.

You know damn well if he's pilfering anyone's shoes off the set it'd be Bea Arthur's - they're bigger.

She's an Aussie.

STRAYA.

Actually, you're not too far off on how rich kids get typically raised.

DEEP IN THE HEAAAAAAAAAAAAAAAAART
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OF TEXAS!

Wow, that manages to look a lot less dumb than it ought to. Impressive.

Taylor Of Panama, featuring a skeezy James Bond.

Cast a bunch of shitty actors, realize their mistake too late, and therefore had to lean hard on stupid 80s references instead of developing said characters?

Yup.

I've said it before, but while PT is the better movie, we'll still be talking about DP in 20 years while PT will be long forgotten.

Honestly, you could make that argument about much of Tarantino's work, especially Pulp, which is considered his best movie.

I'm apparently the only one glad they killed him off. Suave and conflicted mob bosses are a dime a dozen IMO. Especially when their cousin is way more interesting as both a character and plot device.