paultab

I don't have a question so much as a GIFt... http://gifolas-cage.tumblr.com/

Ellen Greene: - was Audrey I in Little Shop of Horrors, a role she perfected on Broadway before she was asked to bring it to the screen - was the 'cool' teacher in the cult teen classic Pump Up the Volume - guests and features frequently (http://www.imdb.com/name/nm0338746/) - worked most recently on Pushing Daisies and the Young and the Restless That movie was all about the impressive curves for 10 y.o. me, too, but still, Ellen Greene has given us plenty to say "DAMN" about.

Yes, Yes, Yes. OK, you know how with King adaptations, it's usually a matter of the movie not doing the book true justice? This adaptation goes to pains to be exactly the same story as the book, and it makes exactly as much sense as the book does. This book, and movie, are both aimless and bat-crap insane. Oh, man, please do Dreamcatcher. Please do Dreamcatcher.

http://dictionary.reference.com/browse/biweekly "Biweekly" can mean either "once every two weeks" or "twice a week."

LOVE Shaolin Soccer. I saw this movie first on a tiny television at a booth at ComicCon, and was completely transfixed.

Ladies and gentlemen: THE WIZARD.

This movie is perfect for this show. Holy shit is it awesome.

Technically, a "man sandwich" would be a man between two things. I'm just saying.

No way, dude. This movie is AWESOME. It had the longest, most multi-faceted one-on-one fight scene in any action movie at its release (Kill Bill probably shattered its record), which was used shot-for-shot for the climactic fight scene in the South Park episode "Cripple Fight." It has multiple classic quotes, most notably: "I came here to chew bubble gum and kick ass -- and I'm all out of bubblegum." It made cheap sunglasses into fun toys again, renewing a resource that was dying once Max Headroom went out of vogue. Jonatham freakin' Lethem wrote a BOOK about it: http://www.amazon.com/They-Live-Focus-Jonathan-Lethem/dp/159376278X/ref=sr_1_1?ie=UTF8&qid=1323871992&sr=8-1 I've watched this movie a hundred times, and I'm willing to bet that if they did this movie, it would be in loving tribute, because the answer to the show's question is "low budget and an unflappable auteur's contract."

That's kind of true. They documented it pretty well on their Behind the Music. The writing process of the movie essentially involved them in a room with Jack Nicholson, with all of them pitching ideas for what they'd like to do in a movie, then stringing it all together. It is bizarre, and it is a mess.

...That's my version of a redaction.

This movie came out at a time when I trusted brands. It wasn't even about "Is Superman III a good movie," it was about, "Hey, it's another Superman movie! Awesome! Why is he doing that to the tower of Pisa? Doesn't matter! I wish he'd come to my bowling alley birthday party!" I was SHOCKED watching this movie as an adult. Those opening credits are crazy!

What I don't understand, robstraws, is how the million dollar robbery is going to stop the east coast mob from continuing to try to expand into the territory. It's not a sizable setback. I get that they want to get the money but not take the credit, but that also seems to me like it would just start a new fire. These are not people that are like, "The million disappeared? Oh, well, I guess this venture isn't for us." The driver and Cranston are in league with them on a legitimate business deal -- it seems to me like they could get the money back and not kill anybody, and the heat would die off. It works when everyone is too stupid to make a plan, but everyone's been doing this a while. I get that it was critically and commercially successful, and I went to see it because everyone and their mother was like, "Dude." I tried to drink the Kool-Aid, but the day after seeing it, I looked back on it and felt like it's one of those movies that's only good while you're watching it, which I realize sounds really dumb while I'm typing it, but.... hrm. Maybe I'm just dealing with expectation-vs-resonance here. I was made to believe walking in that "Drive" was the next-level thing, and it just being a movie wasn't a disservice so much as delivery on its only actual promise. I may not have liked it the next day, but it's not ninth-circle shitty. Motion withdrawn.

(i) The scene where they share a glass of water. (ii) The boyfriend comes home from prison and is like, "Oh, you're the guy who's been helping out around here? That's really nice of you. Thanks, man!" AND MEANS IT. It <i>was</i> really nice of him, he <i>is</i> thanking him, and pretty soon, they're effing FRIENDS. (iii) You have a bad guy in an elevator. He's armed, he's waiting to get the drop on you. Shit's about to get real. Like any gentleman familiar with elevator etiquette, you guide the woman you're trying to protect behind you.... then you <i>turn your back on the bad guy</i> to <i>make out with her,</i> basically just <i>giving</i> him the drop on you. (iv) 1 million dollars is not a lot of money to someone who can drop 300 large on a stock car after one conversation. Moreover, 1 million dollars is not a lot of money to someone who puts 1 million dollars in a satchel and leaves that satchel at a pawn shop. It certainly isn't break-up-Albert-Brooks-and-Bryan-Cranston money. It's just a botched job, due to information you failed to give in the first place, why does Bryan Cranston have to die? (v) Why can't this poor little schmuck go back to his wife and kid? He did his time and didn't roll over on you. (vi) FOR GOD'S SAKE MAN DITCH THE BLOOD-SOAKED JACKET.

Have you seen this? Seriously. Have you fucking seen this?

After watching this, I started talking to friends about it and discovered that I'm the only person in the world who has never seen it or heard of it. My own roommate was part of the house band for the East Village screenings, which unfortunately ended last month. I can't believe I missed out on it, but this will be fun too -- thanks!

This movie is so worth talking about! The reason there's no Michael Myers is because John Carpenter and Debra Hill wanted to make this franchise into an anthology series -- obviously the idea didn't hold, but I love this entry so much, because of the way that Silver Shamrock jingle sticks in your head. derpderpderpderpderpderpderpderp

I was blown away by this episode -- listening to Patton Oswalt geek out is the best thing ever, and to have him face-to-face with Lexi Alexander is a pleasure. It must have been impossible to sleep the night before you guys made this, because everyone sounds like it's Christmas in October -- so much fun! I will be listening to this podcast on the weekly, especially since Jason Matzoukas is in the series (I saw him in ASSSSCAT 3000 a few weeks ago and loved the shit out of him -- "Everything's comin' up Stiiiicks!") Keep up the good stuff!