It's like before every take he said "I'm the only one here with an Oscar nom I'm gonna do what I want and they won't stop me."

Budget wasn't going on screen that's for sure. I'm almost convinced this whole franchise was some big Springtime-For-Hitler type scheme.

"Chasing Amy" is about an obstensibly straight man falling in love with a gay (or at least sexually fluid) woman and not knowing how to hander her sexuality or his own.

The special effects in "Twilight" are so bad they forget basics you should be able to perform with Adobe Creative Suite, nevermind a $100 million budget.

For the latter, just go the Ironside method: act as hammy as possible so, even if it's a bad movie, you remain the most memorable part of it. What do you have to lose by that point?

I remember my best friend pointed that out and we kind of had a mental breakdown:

Forget the budget for a sec. In "Breaking Dawn: Part 1" Edward and Bella spend days cavorting around a Brazilian beach. During the day. Why doesn't Edward sparkle?

I'm the opposite; I felt Eclipse was the hardest to sit through. Breaking Dawn 1 was offensively awful and Breaking Dawn 2 was hilariously bad, but at least both made me feel something. Eclipse I thought "Ugh just get this over with."

Y'know, here's what I keep thinking: films like Twilight or Star Wars have huge production values and fan expectations going on. I get that. But you can't find one emotional thru-line? Or one line read that sounds like a human being said it?

My friends and I stumbled into "Twilight" completely by accident. We saw every movie that came out that weekend together and said "Let's go see that movie about vampires." We hadn't read the books and had no idea what we were in for. I was the only one with the theater with a beard.

Tripping on your point: what if Billy Dee Two-Face took on the vigilante aspect of Eckhart's Two-Face (getting back at mobsters who wronged him), and Riddler took on the topping Bruce Wayne aspect (minus the stupid mind-reading box scheme). So you'd have Bruce Wayne AND Batman being attacked on two fronts, forcing him…

Look up the history of Oscar winners versus losers sometime. And I mean all the way back to the founding of the Academy in the 1920's. The Oscars have ALWAYS picked safe pictures that elevate the image of Hollywood over daring, original pictures that stick in the mind of the viewer.

The problem with both is inconsistent tone. You have the villains hamming it up with their terrible one-liners, but then you have serious scenes like "I'm not over my parents death" or "Alfred's dying and I don't know what to do." No scene organically leads to the next scene.

It feels like an actual movie is trying to fight it's way out of the toy commercial and doesn't completely succeed.

Schumacher was basically a journeyman on those films. He was doing what the studio wanted, which was something safe and marketable to sell toys. Production design aside, very little of those films could be called his vision.

Open the film with the trial that disfigures Two-Face (you'll notice this is only ever shown in news footage), and have Bruce Wayne so wracked with guilt he goes to see Nicole Kidman as the shrink. Make him the only villain and make the duality the central theme of the film.

Hey when Nicholson got a huge upfront fee and back-end points that netted him $50 million, I'd demand better pay too. Especially considering the movie is called freaking Batman.

Or Rachel from GLEE.

The script for "Batman Forever" is a tricky beast, because it's the first I think in the 90's films that tried to give Batman an arc. It tried to have him confront his violent and murderous ways from the Burton films and wonder if his war on crime has done anyone any good. His conflict with Robin going down the same…

They ALL had terrible scripts on review. Batman & Robin was just the culmination of mistakes that were there right from the beginning: too much focus on style and hammy villains and not enough on characters or tight plotting.