I just saw O, which is actually really good. Ten Things I Hate About You showed that Shakespearean comedy could work in high school, but what about tragedy? Yup.

It all works surprisingly well, from the setup of Hugo's jealous motives and Emily's becoming an accomplice to the escalation of Odin's emotions and the inevitable deathapalooza. There are, of course, a few missteps (somehow Iago is less menacing when he says things like "I would give my left nut to be in your shoes"), but it's well worth seeing for fans of Shakespeare and modern adaptations. And also, it's one of the few DVDs I've seen where the deleted scenes are worth watching as well.

The obligitory Blade Runner question: Which version did you watch? The original theatrical release, or the director's cut?

I just wanna point out that there are actually two different director's cuts of this movie. I've only seen one of them.

In some ways Aliens is retrograde politics, because it turns Ripley's base reason for living/surviving/fighting into Mother Defending Her Child. I still think that movie could have been more interesting if there had been no child at all, or if it had been one of the other (male) survivors who had been cast into the parent-role.

While I usually scoff at blatant attempts at emotional manipulation, there was something very satisfying about Ripley's primal conflict with the outside force threatening "her" child. I don't think Cameron could have tapped into that much emotional intensity had the story just been about Ripley trying to survive for her own sake.

So I watched Chinatown. It was, of course, excellent. My one question: why on earth is the Chinese butler guy named Khan?

Didn't ya know that's a Chinese name?

Maybe they thought Genghis was Chinese?

Maybe because he had wrath?

Cereal upcoming.

OK, real reason I'm here is that I just finally saw Spidey 2. Of course, P-C *would* have to have just watched Blade Runner and Brazil, two of the bestest movies ever. I'll keep my commentary on Blade Runner shortish, though - I want a hybrid of the two versions. Leave in the voice-overs, but end the movie where the Director's Cut ends. I'm agnostic on the unicorn dream scene.

My two favorite movies are Blade Runner and Casablanca and I've come to realize that in many ways they are the same movie.

Anyway, Spiderman.

LOVED LOVED LOVED the opening credits. Was that Alex Ross work or am I way off target? Awesome. I thought the opening scene was taken directly from Snow Crash, my friend thought it was from Grand Theft Auto: New Vice City. Alfred Molina was awesome and the writing for Doc Ock great, and a great villain makes a good superhero film.

However, the physics made my brain hurt, and kept popping me out of the movie. Not the physics of Spidey doing his heroic stuff, or Doc Ock sometimes sounding like an earthquake when he "walks" and sometimes being cat-stealthy. I mean the physics of the science-fair fusion project. Way too much fanwanking required.

I did love the old-timey comic book stuff, like the bank having sacks of gold in the vault. Sometimes it was awkward, like going from a shot of the Daily Bugle using old-style paste-up to a mention of eBay, but mostly it worked. I also loved Bruce Campbell, but I love him beyond all reason anyway.

Did I detect a little Lizard foreshadowing?

And am I alone in thinking the Peter/Harry relationship is just a touch erotic? Or is that just because James Franco is hotter than a fusion ball?

Great fun. Might come close to replacing the X-Men movies as my fave comic movie ever.

Just saw I, Robot. Did anyone on set think to mention to Proyas that there already was a Bladerunner? And 2001? And that episode of the Simpsons where they go to Itchy & Scratchy Land? And that maybe they should have tried putting something, oh I don't know, original into the story?

Don't get me wrong, I love a good mindless action movie about killer robots, and I certainly wasn't expecting brilliance, but I also really wasn't expecting to be that bored. (I spent most of the film waiting for them to reveal that Bridget Moynihan's character was a robot, since she seemed to have only the one facial expression, and no emotions. Then I realized she's just a really bland actress.)

I'm also a little disturbed that the moral of the story seemed to be "Thank god for racial profiling!"

I also really disliked the design of the robots. The faces especially didn't look physically plausible to me, and so I was never able to forget that I was watching CGI.

P-Cow, the three movies that really re-set visual style in the 80s were (as you figured) Blade Runner, Road Warrior and (I think) Diva.

God, I haven't seen Diva since I was, like, 16. I think they showed it on PBS. I really need to see if they have that at the library.

"I've.... seen things.... you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near Tannhauser gate.

"All those.... moments.... will be lost in time.... Like tears in rain.

"Time.... to die."

I think these lines were revealing Batty as an introspective entity, someone who could watch a scene of destruction and death, and from a distance, find beauty in it. I've always thought of Batty, and the other replicants, but mostly Batty, as a child, who, given a longer lifespan and some guidance, could have developed a human perspective. Perhaps it's just the softhearted sap in me. But the scene he describes, above, is the only sort of experience he was ever allowed to have. And that he rose above the brute enough to see what beauty there was made him closer to human, for me. (Also, I always thought it was "seabeams", again with the romantic sap)

I actually think it's better with the voice over.

Me too. It plays more like Chandler-noir with the voiceover, and makes the outre seem just another day at the office. For me, it adds another level of juxtaposition while at the same time trying to convince me that this is just routine, mundane police work. Or, I could just have read the rest of Sean's post:

I also rather prefer the notion that Deckard was human, as that means that Roy's last act was to save a human life, to see if that would finally make him real. It also sets up the essential existential exploration of the film - that Roy's artificial humanity is more alive than Deckard's rote existance.

As it is, I'll just add a big ole "Yes!" to that statement.

Loved Soldier, with the whole cast of ER, and Angelo from The Pretender. And Wyatt Russell as Kurt's character as a kid.

I saw I Robot today, and it was fun. Will is a very pretty man, and it is absolutely no hardship to look at him onscreen in any state of undress whatsoever. And I had a lot of fun watching the robot and listening for Alanisms. Is it art? In the sense of forwarding CGI movie tech, maybe. But yeah, very pretty car.

I, Robot also borrowed from Colossus: The Forbin Project, a 1970 movie where a supercomputer decides to take over the world for our own good.

2035 Audi.

eta: more Audi.