I absolutely love June, but she has a tendency to really miss or misinterpret important plot points in movies. Granted the movies they cover are awful and confusing, but her weird perceptions and trains of thought are truly baffling sometimes. The evolution of ducks in "Howard the Duck" especially blew my mind.

"Prisoner of Azkaban" is my favorite too, with "Order of the Phoenix" as a close second. "Goblet of Fire" was too much of a mess for me. It was originally written as two parts but got heavily re-written into one, and you can tell the actors and producers literally don't know what to do in certain scenes because they…

Featuring Peter Dinklage's brother Jonathan on violin! That's why Pete appeared in the celebrity rap video for the "Roll The Bones" bridge. I swear, he gets the biggest reaction out of everyone when they play that live.

I'M SICK OF SHAKING MY BOOTY FOR THESE FAT JERKS.

BENDER: How's the abdomen? Swollen with nectar, I trust?
BEES: Duuuuh…

I'm that weirdo who loves the Synth Era above all others. The "Clockwork Angels" tour I was psyched that they did a lot of "Power Windows" material in the first set. Hearing "Grand Designs" AND "Analog Kid" at the same show means I can die happy now.

I forget, have they EVER performed that song live? It's SO underrated.

"Roll The Bones" and "Presto" also have this under-current of funk to them that I feel Rush didn't explore before or since. "Scars" is almost an ambient dance track, and of course there's the title track of "Roll The Bones" that has the piss-take rap. I don't think it would have panned out as a long-term direction for…

"Power Windows" is my all-time favorite Rush album, and "Presto" is a close personal favorite.

Watch "Rocky IV" again and look at Carl Weathers' face when he first sees Paulie with the robot. It's priceless. The only thing I can speculate is that Carl Weathers' legitimately didn't know about the robot.

Halle Berry's acting talent or behind-the-scenes shenanigans aside, everybody seemed to be tripping over themselves to include her in movies because she won an Oscar, but weren't giving her A-material to work with. Nobody took a minute to acknowledge that what they were giving to work with as Storm, Jynx, or Catwoman…

That's almost Lovecraftian, or something from Neil Gaiman: our love of stories (an inherent bit of human culture) helps us keep dark thoughts or spirits at bay. Then the evil is contained in a book or movie and never enters the real world. I'd love someone to expand on that.

The movie kills me with a single line though: "…I love you too, Dad." And then it pans back to show the house from the first movie.

Jodie Foster also told numerous stories about how Scorsese took her through the shoot-out scene at the end of "Taxi Driver": he methodically introduced every actor, rattled off every special effect, every shot they'd need, and every instance of blood, gore, and death that'd take place. By the end, she was fascinated…

I want a version where Death is personified and he's just on the sidelines snickering at all the stupidly elaborate deaths he put together for his own amusement. There's probably a good dark comedy in there somewhere.

I personally would have preferred Kirk's son contributing more. He acts mis-trusting/petulant during the first half, then sits back and watches his dad kick ass during the second and gains respect for him in the end. Not a bad arc, but I just think it would have been better if he was more of an active contributor…

Double dumbass on you!

"First Contact" did one thing right: it made the emotion chip a liability. "Generations" made it a sub-plot that didn't pay off. "Insurrection" hand-waved it away. "Nemesis" didn't even mention it.

"Khan" is a beginning. "Country" is a culmination. Neither is better or worse, just different parts of one story.

*camera pulls in, Shatner clenches his fist, soundtrack drops out*