Yeah, you guys hit on most of it. After seeing it yesterday my first thought was, “Huh, Spielberg just made a Robert Zemeckis movie.” I’m sure much of that comes from Alan Silvestri’s score (which has a couple good moments, surprisingly. I normally have low expectations for Silvestri’s stuff). The mo-cap stuff reminds…

That’s a bit of a reductionist take on Pauline Kael.

I kind of like her writing, even when I disagree with it. Like Richard Brody, the current New Yorker critic. He’s got opinions I disagree with, but he comes by them honest.

She’s had bad luck with collaborators. But some of her work is being re-evaluated. Personally, I always thought her self-titled album would’ve been better received if it had been sequenced differently. Make Love/Hate the first song and the rest of the record becomes an examination of love in all its different…

If you don’t fuck feathered bipeds, then you’re scared. You’re a big chicken.

That’s some straight up featherless biped shaming.

I think it’s a stretch to say that a music scene’s history is sealed by a single book. For the most part, Goodman highlights a bunch of New York trust fund kids doing coke and using expensive equipment to sound like their music was recorded in a trash can— which may explain why Ted Leo was left out of Meet Me in the…

Ugh, are we really lionizing this era? James Murphy, Karen O, and maybe TV on the Radio are the only people to come out of the scene with any real cred. My point is that, much like The Clash transcends punk rock music, Ted Leo transcends the NY early-aughts scene.

No, you’re right, he’s a Jersey kid, which makes him defacto NY (sorry not sorry Jersey kids). I just usually identify him with the Chisel days, the mod-style DC scene. It’s so far from the DFA/Strokes/white belt thing that was happening at the time.

This article was so vulnerable, and made me love his music all the more.

I think the problem is twofold. 1. He’s just smart enough to get himself into trouble, and 2. He simultaneously wants to be well-liked and to be a shit-stirrer who pisses of both sides. It makes his movies more interesting than most in the genre because you’re never quite sure where they stand, but it also means he’s…

popcorn.gif

Sunshine’s third act gets too much hate. Yes, the whole slasher sequence does indeed suck compared to the rest of the film. But it’s really sort of a self contained chapter that maybe lasts 10-15 minutes. Eventually it moves past the homicidal captain and refocuses on the core story of saving the world. That final…

Come back George! All ... well, some ... is forgiven!

Having not been on set, I can’t say that this is what did happen. But based on what I’m reading here, the presumption is that Eastwood directed this in his signature One-Take style. Up until now, I would be inclined to attribute that to his belief in the professionalism of his actors; you’ve got quality talent, and…

Boom putting out so much great stuff right now. If me had more money, me would just buy everything they put out, content that me would enjoy most or all of it.

So I wasn’t even trying to comment and I somehow commented “big”... so that’s something.

Just how dumb did you used to be?

sometimes a clarinet is just a clarinet.

Ray Stubbs, who for a long time presented the BBC’s Saturday evening soccer results round-up Final Score, was a big fan of The Fall, and used Theme From Sparta FC as the title track. Anyway, one day, he got Mark E Smith to read out the results:

It’s based on the Warhol poster. Can’t find the movie version as a print for sale though :/