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I don't think I've been this peeved at a movie in a while.

This actually had a decent premise but was just fumbled at the one yard line. I didn't have a problem with how fast and loose they were with the science or the fact a big part of the plan working is the parents straight up leaving their old lives to have this clone child, but no explanation of how they accomplish that, but then with the focus shifting to De Niro's crazy obsessive scientist character and what his real goals were it just went off the rails. I feel that the makers of Replicas saw this film and said to themselves afterwards, "we could make a better movie out of that."

When god closes a door, he opens a window. Also when he takes a shit.

I came here to recommend this movie! It is absolutely insane and makes no sense. I think the premise is actually pretty intriguing, but instead of just examining the ramifications of the boy finding out he's a clone, they add in some weird supernatural stuff. This movie is perfect.

Since I know what the twist is for this film I'm watching under the pretense to see the clues of it and from the FIRST SCENE I'm catching the clues, mainly because of how many years I've spent partaking in what that twist is. It's actually not a terrible clue, but the movie built around it is dogshit. And holy shit do they love going The Devil's Advocate route with their overuse of fuck, plus I was not expecting MM to be a part time hooker to help pay for his gas and first mate.

I turned to my boyfriend at one point while we were watching this and I said "oh man I can't wait to hear what June says about this movie."

Hoping this is the choice for Durham or Richmond. Pleeeeease

Just remember what to do when you feel agitated.

I have no idea what (this) Serenity is about beyond what Paul mentioned in the mini-EP. I am going in cold! I'll try to keep it that way

I'm not sure if June will ever forgive Paul for Serenity. It's ROUGH

I'm so glad they're doing Serenity. I'm convinced MM was stoned and drunk out of his mind through the entire shooting. It was such a blatant excuse for a vacation. But Anne Hathaway kills it! She knows exactly what movie she's in.

It’s, like, I can taste them in the back of my throat, but I have eaten neither...So gross.

Let's take the two grossest condiments and put them together in one easy to throw away container.

Ugh! I can just imagine slorping it onto a sandwich. These ads are what happen when motherfuckers don’t take those pod survey requests seriously.

Also ketchup and mayo? I legit gagged a bit when Paul said that.

Thanks, Elektra! Honestly, I’m less thrilled about the win (although that’s also very nice), and more about making Paul laugh. That’s the real trophy To be honest, I agree with Paul. Last weeks C&O’s were really, really good. I’m proud of everyone!

Congratulations to Cameron for being back on top. I liked it when forum posters win and not those LOSER call-in people. I am excited for SERENITY. I feel a little responsible since I suggested it in the bad movie recommendation threads. I'll be curious to see what people who have never heard anything about it think is going on. I, unfortunately, only saw it after reading about it. So I was spoiled. IF anyone went in cold, I want to hear your thoughts.

I love how Paul has incorporated Cody and Devin into the mini-episodes. It’s nice to have their insight as well. Also, just like Paul I grew up with tomato/mayonnaise sandwiches. They are great. Tomatoes are delicious. However, I’m sorry Kraft, but I will never, ever, ever eat one of your weird hybrid flavors. First of all, I think it’s kind of lazy. What, I can’t be bothered to squeeze two different bottles? Get out of here with that shit! Americans need to be more active! And secondly, I’m not sure I trust your ratios. If you put too much ketchup or BBQ sauce or whatever your whole sandwich is gonna be totally fucked. There’s an art to condiments. You can’t just wing it! Also, Ranch is fucking disgusting. You think adding ketchup is going to somehow make that horror show edible? Get the fuck out of here...

Good story about Hoffman and being competitive with colleagues: in the early 80s, I saw a preview performance of Death of a Salesman on Broadway, with Hoffman playing Willy Loman. I was fortunate enough to have been given permission to visit him backstage after the show. When I went into his dressing room, there were four people in there. DH was sitting on a chair at the end of the narrow room. Sitting adjacent on a couch, talking intensely to Hoffman was Arthur Miller. Hoffman was clearly listening carefully, nodding his head, taking it in. Though I was chatting a bit with the other two people, not wanting to bust into the conversation at the far end of the room, but I figured how often does anyone get to hear Arthur Miller giving notes to Dustin Hoffman about his performance in what's considered to be one of America's greatest plays? I positioned myself closer so I could hear what they were saying. And the part I heard was: MILLER: You're playing against a very strong Biff, now. HOFFMAN: (nods, murmurs agreement. MILLER: You understand? HOFFMAN: Absolutely. MILLER: He's very strong. You've got to hold your own. HOFFMAN: Exactly.... Now, in my view, Hoffman certainly held his own, turning in a great performance. (Which I saw get even stronger in two more performances.) But after hearing that little bit of conversation, in subsequent performances, I couldn't help but thing that Hoffman and the young actor playing his son Biff -- who was, in fact, very strong in the role -- had some kind of competition going. Most likely, it served to fuel each of them to commit fully, giving everything they had to their performances. The competition (if there was one) only improved their work. (Oh, and that actor playing Biff was a 30-year-old guy from a Chicago theater company called Steppenwolf. His name was John Malkovich.)

First of all, please bring Mark Harris on the show for Butch Cassidy and the Sundance Kid so that he can talk about that film, Midnight Cowboy, and all the other 1969 films he broke down in his book "Pictures at a Revolution," and for that matter, bring him on as well for The Best Years of Our Lives so that he can talk about William Wyler and the rest of the directors he analyzed in "Five Came Back." (Of the five directors who served in WWII that Harris talks about, three of their first post-war films are on the AFI top 100: Best Years of Our Lives by Wyler, Treasure of the Sierra Madre by Huston, and It's A Wonderful Life by Capra. Stevens and Ford would also have later post-war films made in the 50s make the list with Shane and The Searchers respectively.) As for Midnight Cowboy, I'm not as willing as Amy is to sweep all the problematic aspects under the rug, but certainly hearing her defense made me feel more rosy about the picture as a whole. It's still a film that I like more than I love, but I have no qualms about it deserving a place on the list.

I created an account just to recommend this movie. Just saw it two nights ago. A fishing-noir (!) with an M Knight level twist? It's almost like it was designed for HDTGM. Bonkers all the way.