Wizards still own slaves (er, "elves") by the time of the original books, so, uh… probably not great.

He won the Oscar the same year he did Jupiter Ascending, so let's all just tell people that's what it was for until it starts to become accepted history.

On the other hand, I'll always love The Guardian giving Only God Forgives four stars and calling it one of the decade's best films. They were wrong to do so, but I admire the gumption that must have taken.

And yet, Army of Darkness is both.

You mean Erdogan?

Past hope. Past kindness or consideration. Past justice. Past satisfaction. Past warmth or cold or comfort. Past love. But past surprise? What an endlessly unfolding tedium life would then become.

I saw him play just a few weeks ago, and I can't help but feel his choice for opening number was deliberate.

I don't have much to contribute except that Blade 2 owns hard, and more superhero franchises should feature Kris Kristofferson.

Am I gonna have to be the one? Really? Fine.

"I promise, LeFou, no one's going to get hurt."
Title card: The Gang Starts A Mob

Plus, in Gaston's defense, there really is a goddamn monster lurking in the woods and kidnapping people.

I didn't, but then again I was a very sad child.

I really love how political and sprawling Hugo's work is. I think that, for as much as people hit the Dickens comparisons when talking about the Wire (to David Simon's infinite chagrin), Les Miserables always felt like the more obvious parallel to me.

Yeah, the pacing and plotting is really lumpy, and the film is mostly just an excuse to bask in that stunning animation and soundtrack. I wish it got more love, though, because those songs are killer.

Except the comedy number.

Holy shit I somehow went my entire life without knowing that was Eartha Kitt. Thank you.

It's a shame Vincent Price didn't do more stuff like that. Between that and The Thief and the Cobbler (where, in the real version of the movie, he has about 90% of the dialogue, speaks in rhyme, and is having the time of his life doing it), he did some incredible cartoon villain work.

I was happy to see "Friends on the Other Side" get a shout-out in the article. Disney villain songs tend to be the ones written and structured the most like actual theatrical numbers, and that's one of the absolute best— so much beautiful animation, such great wordplay, and my god does Keith David own every scene he…

It's really, really funny, but it doesn't have nearly the artistry or depth of their earlier stuff. Plus you trade out some of the greatest musical numbers of all time for a tossed-off Sting ballad.

It's true! The whole Hunchback angle is only there because gothic novels about monsters and romance novels sold really well, and he wanted his message to reach a wider audience.