Comedy songs always get shafted. "Guilty as Charged" from Walk Hard is an absolute masterpiece and was never considered.

I know it's easy, but Drive. The way he embodies the cool, rugged archetype, then just gradually keeps revealing more and more weird sadness and inhumanity. The scene where he's standing in the hallway with the bag of money, trying to explain to a woman that her husband's dead, but now they can run away together,…

Anya Taylor-Joy, too. Really sad The Witch didn't see any love, although not surprised. I would have voted for it for Screenplay, myself— that movie's grasp of language is incredible.

Sicario was stunning— one of my favorites of the last five years, and it might be my pick for the best work Deakins has ever done.

I would hope so, but I'm not sure enough people saw Elle.

I went into it totally blind, which I think contributed. The moment about ten minutes in where I realized that the whole movie was going to be one shit was really exhilarating— a real "magic of cinema" experience.

Yeah, I don't really think that, even disregarding Morgan's awfulness, a talk show host has a right to look down on actors.

He wrote a series where the good guy is trying to get his 14-year-old girlfriend across dimensional lines so they can get married where it's legal and live in a nudist dimension.

Douchetheremins are great, because you don't even have to touch them.

May I suggest the Chiller font?

The Academy Award isn't given out by critics, it's given out by people who work in filmmaking.

Thanks for sticking up for Birdman. It wasn't my favorite of the year, but I get so tired of the backlash to it.

So happy to see Huppert up there, and hoping she manages to beat out Stone (she won't)— one of the most interesting characters I've seen in a long time, carried by that stunning, unsettling performance. Also pretty happy to see Arrival up for Best Picture, even if I wish Adams was nominated. (A little frustrated that…

Shannon's been overdue for an actor win for a long, long time— at least going back to Take Shelter, and I'd say My Son, My Son, What Have You Done should have earned him a nomination too.

Ah shit, I may have misremembered.

That joke was fantastic and I, too, will defend it.

Good for you!

I always assumed that Ozymandias wanted them to find him. He can't accomplish his plan in secret, he needs to explain it to someone else so that they have no choice but to go along with it, this both validating his genius and proving that he was morally correct.

My biggest issue with the character is that he dies with the mask off. The whole point of his death is that he's living by his code. He knows Manhattan will kill him, and he'd rather die by his moral code than live with a compromise. It's the moment where he behaves the absolute most like Rorschach— who he considers…

This would be an apt comparison if Bram Stoker hadn't died a hundred years ago and Dracula wasn't in the public domain. Moore's issue isn't one of adaptation quality, it's that his publisher has complete and total control over works that he created and is making adaptations and spin-offs despite his express wishes to…