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Non-stick, per usual. Hey! Likewise! Maybe "Red Hill Mining Town" will get the acoustic treatment? There's not a chance in hell that track will get the full-blown treatment, especially if they couldn't reach that at the time. I wonder how many B-sides, if any, will pop up along the way, too...

Have you read his interview in Film Comment? Even the way that he discusses his choices in explicit formal terms alongside they're cinematic and theological underpinnings feels out of time from a modern American approach. Not to take away from Lonergan/Manchester at all. I'm on Team Lance on...

My hair has improved, as have the Seminoles. My fashion sense, however, has remained the same.

If Ryan Adams covers "Bad and Boujee" we're allowed to beat him up, right?

Sound the alarm. The prodigal bastard returns.

Turn off your oven, Lance.

Hey, cute story. That's not what I fucking said. I think it's fair be exasperated at aggressively canonized movies (and saying they're good) while also saying there's a whole lot out there. At this point, I'm probably barking up the wrong tree. There was a period a few years back where a nice...

Are you accusing me of being a contrarian for the hell of it or because I disagree with you? There's a distinction between the two, and it'd be nice if you clarified that for me. I've been curious to check out any movie from this recent wave of faith-based films and Left Behind made the most...

It's faith-based hysterical nonsense in which Cage is legitimately good. Paycheck gig? No question. At least he commits to it. A key plot point involves him wanting to have an affair with a hot flight attendant by taking her to a U2 show in London, I kid you not. There's also a high amount of...

Left Behind does the same thing, you know like a Sunday School Special.

The Wrestler works well as a companion piece to Black Swan, abuses of the body and all that jazz. It is an actor's vehicle, but shows a huge leap from the after school special shenanigans of Requiem.

It's Aranofsky's Dune

It's barely a musical! Eastwood makes it a behind-the-scenes melodrama that has all of its central characters break the fourth wall and then sometimes they perform... sometimes at the same time. It's bonkers. At the end credits there's a Donen/Minnelli-esque take on "Oh What a Night" that's a...

Jersey Boys is fucking bizarre.

A cultural crime if you ask me.

For what it's worth, the parts of The Interview that I got the see last weekend were pretty damn funny. I was serving during a screening of it at Butt-Numb-a-Thon, crazy to think that it's one of the rare theatrical screenings of this.

After a contentious debate over the intended aspect ratio

Same could be said for Binoche.

Scale, for sure, and Edwards finds inventive ways to keep his camera fluid and change POVs during each setpiece. Ken Watanabe as Francois Truffaut in Close Encounters is a nice touch, too.

Dragon Tattoo is such a hyper-procedural that it breaks a boring-ass lurid story down into its essential elements. Had he transported the location to the States like The Departed, he'd have gotten less shit. You know what else is pretty dope? The new Godzilla. One of the most...

Sorry I'll need to edit mine to be the new D'Angelo record 15 times.

Our music tastes line up, film do not. Easiest way to put it is I don't dig in as much on theme as I do the sensory experience. Let's table this until I watch the damn thing.

Lucy is a total blast. I plan on watching Under the Skin soon and presumably disagreeing with you. It's tops on my 2014 catch-up list.

ScarJo touching the power cosmic twice with Lucy & Under the Skin is endlessly delightful to me. She's gotta be in the running for 2014 MVPs.

Absolutely agreed. There's at least a symbiosis he has with Cuaron & Malick that make aesthetic sense surrounding their respective approaches. I don't understand Innaritu's decision to stage Birdman as a single take besides it being an "achievement." For a movie about artistic integrity, it's a...