What IMDB says about I, Robot:

The movie originally started as a screenplay entitled "Hardwired", a classical-style murder mystery that read like a stage play, and was very much in the spirit of Asimov's "three laws" mysteries. When the original "Hardwired" script eventually reached Fox, after being developed at Disney with director Bryan Singer, new director Alex Proyas and writer Jeff Vintar opened up the story to fit a big budget studio film. When Fox acquired the rights to Isaac Asimov's story collection, Vintar spent two years adapting "Hardwired" to serve as a tenth story in the Asimov canon, complete with Susan Calvin and the Three Laws of Robotics. Writer Akiva Goldsman came on late in the process to tailor the script to Will Smith.

Teppy, I blubbered at both your sort-of-teary moments. And I loved Aunt May's reaction, the deadly quietness of it and Peter's silent devastation, and I love the film for being large enough to carry both the big, gloriously cheesy moments of High Melodrama and the small subtle emotionally true moments.

Seriously, Peter's big revelation to Aunt May just blew me away. It was such a powerful moment.

I am now watching Logan's Run. I am surprised at how little of it I remember. BTW, is the remake of it still happening?

Just got back from Anchorman. Anyone else see it? I have nothing to say about it. Nothing. But my throat and stomach hurt from laughing so much. My head also hurts, but I don't know if that's because if the laughing.

Oh, poor Logan. He had to leave the Renewal thingie (I forget what it's called) to go chase a Runner. Hmm. his weapon seems to involve sparklers.

edit: The Renewal thingie is called Carousel.

I saw Farenheit 9/11 tonight. I feel like I've been expertly manipulated.

And when Lila Lipscomb was breaking down in front of the White House? I wanted to slap the camera man. "Go HELP her, you asshole!"

I perhaps see these things on too personal a level.

Brian Singer is attached to it, I think, tommy. But it's not been cast yet.

Jenny Agutter and Michael York were both very attractive back in 1976. And the new Logan's Run shows on IMDB as coming out in 2005.

I love this language choice in an article about A Home At The End Of The World and its cut:

Farrell has apparently made some hard demands about the trimmed scenes being re-inserted back into the film.

The flimsy outfits and lack of bras in the future are distracting.

In Spider-Man I didn't mind that there was an El in NYC. There used to be one in Brooklyn and it was featured prominently in King Kong (the original) and I'm pretty sure the Fleischer Superman cartoons. To me it was callback to that kind of mythical fantasy NYC. It's not a real life Manhattan.

I also loved that scene with the train because I thought it did something that's very hard to do in these movies and that's give some kind of scale to the hero's ability. I know some were thrown out of it because that seemed beyond Spidey power but to me it was pretty much the same as the falling skyway car in the first movie. He's sacrificing his body more than using his strength. The strength was coming from the webbing, and he endured it. It was similar to the Fleischer animated Superman cartoons because they made you feel that even though he had this strength, they really pressed that upper limit in a credible way that added drama. Too often those kind of powers just become a deus ex machina.

Also the fight scenes fucking rocked. Again, they were choreographed around the specific abilities of the two characters. Doc Ock's power was palpable, and little bits like Spidey using his webbing to pull Doc into his punch was sweeeeet. It just looked great. Infinitely better than the first one.

The movie had a lot of little shout outs: Spider-Man No More with the suit in the trashcan was a famous comic cover. I loved how they did a Haskell Wexler lens flare when they did the goofy "Raindrops Keep Falling On My Head Medley." Stuff like that.