I always thought - at least in terms of British Invasion bands - it was the Kinks as much as or more than any of the others that influenced punk.

And Shoot Out the Lights, which is just plain incredible.

Is that the one that's half video game, half pinball? Cuz, I used to love that game . . .

Hildy . . . oh, Hildy . . .

Also, this article's reading of Weir's Hollywood career is pretty whack. Witness? Fearless? Hell, even the Mosquito Coast has serious elements of the "edge of society/edge of madness" stuff that permeates a lot of Weir's films, both in Australia and in Hollywood.

Also, when speaking of Cimino as a "beautiful cameraman," it's totally worth keeping in mind Vilmos Zsigmond, without whom . . .

Plus, there was one around the same time done by Barry White that, I think, included "Jazzercize."

Mellifluous.

In the spring of '93, I had an American Lit prof who took great joy
early in the term telling us that "Buttafuoco" meant "fire ass," and
then proceeded, throughout the semester, whenever he could squeeze it
in, to mention something about Joey Fire-ass.

Also, when a 23-year-old tells you life sucks, you're like, um, yeah, whatever. But when an 80-year-old - who's been telling you life sucks for four decades - says, no, seriously, listen to me you optimistic fools, life really does suck. And your particular life means nothing. And you're going to die, and really,…

I've heard his comics reviews are good, but he doesn't really seem to know how to review TV. And he doesn't really seem to get much about adaptation and the many different ways in which it works.

Seriously? After 15 years of American TV and Film being obsessed with daddy issues, you're saying what Age of Ultron needed was even more daddy issues?

I think in the long run the Avengers movies (as much as I've enjoyed them) will be seen as side-shows in Whedon's overall body of work. They've established him in the industry as a guy who can do what he wants (for a while - only as good as your last picture, and all that) after the doldrums of the mid '00s, when he…

The reviewer misses a lot - his expectations are at odd cross-purposes, wanting the show to be both "realer" and also to embrace its comic book roots . . . leads to odd moments, like "I'm glad they killed Raina (her power's too big), even though I wish they hadn't (cuz she plays so big)."

You call yourself a "genius," and yet . . .

"The Big Three Killed My Baby" would like to take your favorite song out back and teach it what "bad" really means. Bitch.

Even though when this was released I was deeply entrenched in one of those lame but inevitable, mid-20s "way too cool for this music" phases, every time "You Oughta Know" came on the car radio, I cranked it. Still do.

Haven't seen it in ages, but I thought it was a cool character detail that Sawyer secretly loved this show.

Even though it's barely part of the ep, the Charlie-Sawyer-Sun stuff makes this one essential (plus, I love it for all the other reasons stated above).

Is it because he got a little soft in his twilight years? No more so than Ebert, really, and yeesh he got a year's mourning period (not that he didn't deserve it). But Corliss's 70s stuff I'd put up with any other critic of the period, and the way he could move almost seamlessly between European art cinema and Pixar,…