The academy voters are overwhelmingly white and male.

People are on drugs. James Cameron is filming 3-D mocap UNDERWATER and has his actors holding their breath for seven minutes. WHAT?

It was then and still is one of the most breathtaking uses of 3-D in the history of cinema. I’ll never forget seeing the moment where that white guy (no, not that one, the other one) wakes up from cryosleep and floats around that long tunnel of other people waking up—the depth of field was fucking incredible.

Nope. And no one cared about Titantic before it was released, and no one cared about Avatar before it was released, and both of them made all the money in the world.

Yes, great point, I don’t think most of us had realized that the real lead singer of the band is dead.  

You diss Cameron, you diss yourself.  Somebody save this page for when Avatar 2 is the top movie.

Irreversible is definitely his best movie, and agreed, it has the most to say. I also think Salo is an infinitely better film than anything Noe has done, though I don’t care to see it again (mainly because, as you say, it’s boring).

Yes, I think it was the extreme maturity of the “fuckbox” that turned me off.  Kids like me can’t handle that sort of grown-upedness.

I’ve never been “glad” to see any of Noe’s films. I’ve gone into all of them with an open mind, but they’ve all disappointed me in exactly the same way, because they’re all focused more on bening controversial than on actually saying anything.

You’d think I’d have trouble typing.

Beward of High Life—it’s two movies. The first one, about a father and his daughter on a derelict spaceship headed for a black hole, is one of the most moving, touching things I’ve seen—as a father, I cried like a baby during the last 10 minutes.

Why? Did yoiu think the Lighthouse was very good? Doesn’t seem that many other folks did—shit, when the movie came out, there was hardly any social response.

It doesn’t have the logic of an old episode of Twilight Zone. I mean, it’s like he wrote the script in a day and never revisited it even once to try and have it make sense.

Yeah, well have you seen Once Upon a Time? Because it eschews most of what he’s known for, and isn’t particularly violent, isn’t constantly riffing on pop culture, and, best of all, doesn’t feature the characters monologue-ing at each other in his voice.

Midsommar is an interminable bore with completely unbelievable characters who continually make extremely stupid decisions. It’s not scary, it’s not fun, it’s not interesting. And worse than all of that, it’s a pale, lame comparison to the much better movies it continually rips off. Nic Cage’s remake of the Wicker Man…

Equally as shitty and bad-vibes inducing.

Climax, like all Noe movies, is shit. Pretty to look at, but ultimately not worth the meanspiritedness  bordering on nihilism. And Climax is especially egregious in the way it basically boils down to the acid version of Reefer Madness. Anyone who’s done acid knows that the characters’ behavior isn’t believable. They…

It’s far from airtight. As you say, when they leave the house, things fall apart quickly. The way Captain America has to keep repeating “you must get the toxicology report!” aptly demonstrates that it isn’t organic to the plot—Johnson is convincing us, the viewers, that it matters, because otherwise we’d be asking…

Meh, Knives Out was a slightly better version of Clue, which is to say it was one more middling murder mystery.  

You’re going to be blown away when you get to college and learn about “subjectivity.”