Ah touché. Phew.

Yeah, Elfman's music is pretty unimaginative by comparison, and good effects don't make a movie. But for all that (and in spite of the bad choices its script makes!), POTA felt more like it wanted to be a good movie whereas so many of Burton's later ones feel like they want to marvel you with how intense a headache…

Interesting, I wonder what that's about.

No Ice-nine?

Same reasons, bigger target.

Something else: the "swirling" of colors — sometimes it's corner to corner and sometimes it's around the center, but it's always counterclockwise. Every single time my brain/eyes were adjusting the color in a counterclockwise direction.

It was really strange, once I got my head angle and distance right, once I made three boxes appear in my vision and the crosses really overlapped, to sit there and just watch the two colors compete. For a moment, all I saw was yellow and I tried to see the blue but it was gone. Then it would shift — it would dissolve…

I would also like one of these with my time machine... but could I get one that looks less like a cardboard cut-out or shrinky-dink and more like a real girl? I've kind of got a "thing" for real girls.

And he seems to have done it by redefining concepts metaphorically.

If he's Ray Stanz, and he's learned anything, he'll answer yes.

The trailer for the excellent film In Bruges does it a little, for the titles/text:

Yeah, I'm with Mike on this. I call shenanigans.

Lovely. Reminded me of Kurosawa's "Dreams" short starring Scorsese as Van Gogh.

Forget Hopper — I want to see some Hieronymous Bosch.

Am I supposed to eat daintily topdown? It seems like a layercake, where you slice right along the thing with your fork and put a bit of each in your mouth.

My thought exactly. "Crack pie with milk ice cream on a vanilla tuile."

Odo is the outsider trope, without question, but he was never portrayed as emotionless. Smug, angry all the time, frustrated with solids, exasperated with Quark, in love with Kira, embarrassed about every little thing, on and on. And Odo also fit the bill as "longed to be human," though it was less human and more…

I definitely see your point, and I wouldn't try and argue it's the smoothest or most convincing scene in an otherwise great film. I was just trying, like ya do, to explain it in-story. Full-well knowing that only works so far.

The idea with Khan and the "hours instead of days" bluff I always felt was based on a couple of key things: Khan is brilliant but doesn't know the technology (his brilliance is 20th/21st century brilliance, and I guess you could argue whatever he picked up by retro-engineering his crashed ship on Ceti Alpha IV or V or…

a. She doesn't really justify her reasoning very well, does she? I mean, she could at least try and make a case for it, based I guess on Rachael's central role to the original story and her implied continued interaction with Deckard, etc. Or how she is the cypher through which we realize anybody could be a replicant,…