Thank you for the great job! Everyone should use it.

But now they’ll surely come back, right?

Great, I’ll do that. Thanks Al Franken!

Don’t know if there’s a thread about it already (probably), but the latest version of the Kinjamprove extension is pretty amazing. Sorting! A button to reload comments! It’s almost like Disqus!

I liked The Martian, but that novel clearly designed to work around Weir’s limitations as a writer.

Say what you want about Scott, but his films are always on point on a technical level. It seems to be one of the things he likes most about directing, picking some kind of impossibly complex-looking project and thinking “okido, how do we get this done?”

The age gap is too small to (convincingly) use a different actress. You could of course argue that we’re not seeing the actual events, but Grace’s narration, meaning that we see adult Grace enacting her own story.

I haven’t read the novel, but I think I know what you mean. At least, there was one surprisingly jarring moment.

I love how we’re shown that Grace is “performing” to Jordan, but are (for now) left in the dark as to what it means. Clearly, she is not really trusting him, but we haven’t seen any suggestion that she is lying, but we do know she is aware of the power of perception.

I just wanted to write the same. I’d gladly watch an actual interview with interesting people, but this is silly.

This list only covers November releases, and I don’t think The Last Jedi opens anywhere before December.

Sarah Gadon has been astonishingly good everytime I saw her in something. So this is a must watch anyway.

NO INCEST

I saw it at a film festival (Zürich), and most people seemed to like it, so I suppose you’re right. On the other hand, most of jokes at expense of the modern art scene were not very sophisticated or specific.

This film has a few good jokes and some great scenes (although I personally wouldn’t count the ape performance piece among them), but generally didn’t like it much. It’s really long, but seems to not know what to do with its runtime: each scene feels disconnected from the previous one, and seems to be explictly…

Forgot to also mention Inherent Vice: attempting to adapt Pynchon is pretty damn ambitious. I don’t think it worked out that well, but that’s another matter.

Personally, his newer films (say, the Greenwood era) feel considerably more ambitious to me. The difference, I guess, is their somewhat “muted” quality, at least compared to the obvious exuberance of PTA’s earlier films. He has become much less showy, while actually producing much more impressive filmmaking (e.g.,…

I’m also partial to “robot slave lady”

The English title of this film really bugs me. I mean, the French one was 120 BPM which, you know, refers to a certain number of beats per minute (of the house music the people in the movie like to party to). But then, the English title just drops the numeral to produce an entirely meaningless phrase? It’s just odd.

Hey QT is an enjoyable, catchy song. But in general, I never quite “got” what Sophie and the like were doing.