This year was amazing. BP nominations for HELL OR HIGH WATER, MANCHESTER BY THE SEA, ARRIVAL, and a fucking win for MOONLIGHT—all movies that would've been right at home on my little snob-snub list. The ceremony even turned into THE PARALLAX VIEW.

For some of us, wasn't the most exciting aspect of the expanded list that the Academy might course correct and canonize Sight & Sound-style? But since the new rules went into effect, none of these has received a BP nod:

Right. She's at the lower left of the frame.

Yeah. Where'd she go? The woman that ended up onscreen gives the strangest performance.

You might be right. I noticed some other newswires today with comments that had been unceremoniously flagged—ones without the slightest potential to offend.

"butchering athiests"

I lost my shit downthread. But as @katayosha:disqus pointed out, these comments are auto-flagged because Disqus's algorithm goes Orwellian whenever it detects potential hate speech. It's just a well-intentioned robot being dumb.

So a typical lefty overreaction on my part…

Agree or disagree with the comment, the fact that it's currently under moderation and may disappear entirely is a stomach-churning example of the Left's worst impulses.

Despite its premise, the one-armed-man hook didn't really drive the show. The 3-way chase was really an excuse to plant Kimble in a new place around new people every week so he could help someone out of a jam.

It's actually somewhere between interesting and legitimately good. In the same way Verbinski fashioned THE LONE RANGER into an enormous theme-park ride through the Western genre, this one's a bonkers mashup of mid-century gothic horror—think THE MAGIC MOUNTAIN adapted by Mario Bava and Roger Corman with Jason Isaacs…

I couldn't agree more that this series probably contains some of our most engaging and endearing pop sci-fi imagery. The TOS Enterprise remains a near-perfect pastiche of postwar, space-age design, influenced equally by flying saucers and jagged, Sputnik-style utilitarianism.

OK. Drops pro-style barbells, stretches core, hydrates. Let's nerd out.

While I love those two movies, they strike me as De Palma doing his impression of a journeyman director. I don't even like SCARFACE as much, but it's more characteristically trashy than those two combined.

As much as I can't resist a De Palma highlight reel, I couldn't help but think that someone as formally inventive as De Palma deserved something more visually interesting than those two milquetoast preps could ever conjure. Still, I'll always be amazed that he was the New Hollywood lothario. Did he ever look not…

Unfortunately you're probably right. Between FEMME FATALE and last year's doc, we probably have the requisite De Palma curtain call. (That and the trashiness constraints always hobbled his large-scale efforts.)

I'd like to see Nick Winding Refn's neon-gonzo freakout version. Or maybe Pablo Larraín's understated, ersatz-Malick take.

Just saw JACKIE last night. Holy shit that scene in the car. Still can't express a complete, coherent sentence about that movie. It got me.

"The Exorcist" is pretty explicitly about menstrual panic and is (straight-up explicitly) rooted in fears of changing gender roles and the decline of "family values."

Should the exclusion of "The Next Picture Show" surprise me or is the AV Club, in its current incarnation, contractually bound from referring to anything involving its former editor and staff?