SuperJerk

I hope that "I wonder why" was sarcasm. I think the filmmakers intentionally left so many unanswered questions about Neo just to fuck with us.

Some of us wnat her to go back to being hot so we can enjoy looking at her again.

Sadly, I think most people are too busy bitching that the acting was 2nd rate or about Vader's "Noo!!!" to notice how strong the plotting for both Eps. 2 and 3 was. What about the sublimial political BS that Lucas was promoting in Eps 2 and 3....that was anti-Bush? Considering they were written BEFORE Bush took office? (Ep. 2 was filmed in the summer of 2000, and the plot for Ep 3 was constructed at leat at that time, since Lucas knew where he was heading with the story well ahead of filming Ep. 2) Not likely.

All I can say is...KEEP HER AWAY FROM SNITSKY!

Sadly, I think most people are too busy bitching that the acting was 2nd rate or about Vader's "Noo!!!" to notice how strong the plotting for both Eps. 2 and 3 was.

The word "balance" implies two equal sides, doesn't it? Maybe the prophecy meant the Sith would come to equal the Jedi with Anakin's help. That'll drop in time. Nothing against the movie, but more people need to see it besides fans before it can give a fair assessment. I remember "American Beauty" being in the top 20 a few weeks after it opened, only to drop as more people saw it.

I'll put it another way... Why should I pay $16+ for my wife and myself to see a movie in a crowded room full of strangers and have half of them talk through it while listening to babies cry? I've become quite fond of drive-ins and dollar shows in the last few years. Even if the movie sucks, you don't feel as ripped-off because at least it was cheap.

For some reason also I thought "Mr. Deeds" and "50 First Dates" had bombed, but when I checked the returns I saw that I was wrong. Yeah, now that I've done the research I see that my point was wrong.

Absolutely.

I don't think they use the word tabloid the same way over there, though.

I suppose if I said "If TSM were the Empire from Star Wars, Dames would be the Emperor, and Dr. Tom would be Darth Vader" one of you'd jump up and say "BUT TSM isn't the Empire!" See, I wasn't comparing TSM to the Empire, I was comparing the relationship of Dames and Dr. Tom to TSM to the relationship between the Emperor and Vader to the Empire. I'm not actually comparing TSM to the Empire. See how that works? Similarly, I was comparing the relationship between Clinton and Bush with Iraq to the relationship Kennedy and Johnson had to Vietnam. Clinton and Kennedy wanted to help without actually committing ground troops to do the fighting, while both Bush and Johnson ignored any restraints, found a legal justification, and committed full military participation to the war. DO YOU UNDERSTAND YET, OR DO I NEED TO WHIP OUT SOME CRAYONS AND FINGER PUPPETS?

Ultimately, theater owners will blame everything but the real cause for their decline in business... TICKET PRICES ARE TOO DAMN HIGH!

I had similar thoughts when I saw Lindsay Lohan in "The Parent Trap", but at least I kept them to myself.

As much as I enjoyed that movie, I'll admit I found parts of it really cheezy and too over-the-top (the Moroder soundtrack didn't help).

What I'm beginning to see is that there's a fairly vocal minority that rather obsess over the 3 things Lucas did wrong with this movie than the 30 things he did right. I've heard and read people say they didn't really like the movie over the most idiotic, non-consequential things, such as the super-battle droids being given cartoony voices, General Grievous coughing, or the aforementioned Vader yell. There are some legitimate complaints out there from people regarding how Anakin transitioned to evil...but 90% of the criticism has been over seriously trivial BS. I didn't realize "whew" was an expression of agreement.

You'll never convice me that either Jolie or Pitt are box office draws. I'm not questioning their talent, just their ability to get people to pay money to see them. Considering the publicity of their personal lives, there might even be a backlash against them that will HURT the film.

The AFI list, for the sake of comparison: 1. CITIZEN KANE (1941) 2. CASABLANCA (1942) 3. THE GODFATHER (1972) 4. GONE WITH THE WIND (1939) 5. LAWRENCE OF ARABIA (1962) 6. THE WIZARD OF OZ (1939) 7. THE GRADUATE (1967) 8. ON THE WATERFRONT (1954) 9. SCHINDLER'S LIST (1993) 10. SINGIN' IN THE RAIN (1952) 11. IT'S A WONDERFUL LIFE (1946) 12. SUNSET BOULEVARD (1950) 13. THE BRIDGE ON THE RIVER KWAI (1957) 14. SOME LIKE IT HOT (1959) 15. STAR WARS (1977) 16. ALL ABOUT EVE (1950) 17. THE AFRICAN QUEEN (1951) 18. PSYCHO (1960) 19. CHINATOWN (1974) 20. ONE FLEW OVER THE CUCKOO'S NEST (1975) 21. THE GRAPES OF WRATH (1940) 22. 2001: A SPACE ODYSSEY (1968) 23. THE MALTESE FALCON (1941) 24. RAGING BULL (1980) 25. E.T. THE EXTRA-TERRESTRIAL (1982) 26. DR. STRANGELOVE (1964) 27. BONNIE AND CLYDE (1967) 28. APOCALYPSE NOW (1979) 29. MR. SMITH GOES TO WASHINGTON (1939) 30. THE TREASURE OF THE SIERRA MADRE (1948) 31. ANNIE HALL (1977) 32. THE GODFATHER PART II (1974) 33. HIGH NOON (1952) 34. TO KILL A MOCKINGBIRD (1962) 35. IT HAPPENED ONE NIGHT (1934) 36. MIDNIGHT COWBOY (1969) 37. THE BEST YEARS OF OUR LIVES (1946) 38. DOUBLE INDEMNITY (1944) 39. DOCTOR ZHIVAGO (1965) 40. NORTH BY NORTHWEST (1959) 41. WEST SIDE STORY (1961) 42. REAR WINDOW (1954) 43. KING KONG (1933) 44. THE BIRTH OF A NATION (1915) 45. A STREETCAR NAMED DESIRE (1951) 46. A CLOCKWORK ORANGE (1971) 47. TAXI DRIVER (1976) 48. JAWS (1975) 49. SNOW WHITE AND THE SEVEN DWARFS (1937) 50. BUTCH CASSIDY AND THE SUNDANCE KID (1969) 51. THE PHILADELPHIA STORY (1940) 52. FROM HERE TO ETERNITY (1953) 53. AMADEUS (1984) 54. ALL QUIET ON THE WESTERN FRONT (1930) 55. THE SOUND OF MUSIC (1965) 56. M*A*S*H (1970) 57. THE THIRD MAN (1949) 58. FANTASIA (1940) 59. REBEL WITHOUT A CAUSE (1955) 60. RAIDERS OF THE LOST ARK (1981) 61. VERTIGO (1958) 62. TOOTSIE (1982) 63. STAGECOACH (1939) 64. CLOSE ENCOUNTERS OF THE THIRD KIND (1977) 65. THE SILENCE OF THE LAMBS (1991) 66. NETWORK (1976) 67. THE MANCHURIAN CANDIDATE (1962) 68. AN AMERICAN IN PARIS (1951) 69. SHANE (1953) 70. THE FRENCH CONNECTION (1971) 71. FORREST GUMP (1994) 72. BEN-HUR (1959) 73. WUTHERING HEIGHTS (1939) 74. THE GOLD RUSH (1925) 75. DANCES WITH WOLVES (1990) 76. CITY LIGHTS (1931) 77. AMERICAN GRAFFITI (1973) 78. ROCKY (1976) 79. THE DEER HUNTER (1978) 80. THE WILD BUNCH (1969) 81. MODERN TIMES (1936) 82. GIANT (1956) 83. PLATOON (1986) 84. FARGO (1996) 85. DUCK SOUP (1933) 86. MUTINY ON THE BOUNTY (1935) 87. FRANKENSTEIN (1931) 88. EASY RIDER (1969) 89. PATTON (1970) 90. THE JAZZ SINGER (1927) 91. MY FAIR LADY (1964) 92. A PLACE IN THE SUN (1951) 93. THE APARTMENT (1960) 94. GOODFELLAS (1990) 95. PULP FICTION (1994) 96. THE SEARCHERS (1956) 97. BRINGING UP BABY (1938) 98. UNFORGIVEN (1992) 99. GUESS WHO'S COMING TO DINNER (1967) 100. YANKEE DOODLE DANDY (1942) http://www.afi.com/tvevents/100years/movies.aspx

Which MIGHT be a draw, but I don't think the average 16 year old is going to want to fork over his hard borrowed-from-Dad money to see a couple of married people fight for 2 hours. Most kids get enough of that at home.

I guess I just didn't get the deep cultural meaning this thread holds for you all. My apologies.

Whew?

If Mr. and Mrs. Smith does any business, it'll be because of the publicity surrounding Brad Pitt and Angelina Jolie's affair. I'll admit that the movie looks cool, but summer time (June-August) box office success requires an appeal to the teenage demographic. I could be wrong, but I don't see this movie appealing to that audience for some reason.

This isn't too different than the AFI list that came out 8 years ago. Where the hell's "The Bridge on the River Kwai" or "Sunset Blvd"? Blade Runner had good special effects for when it was made, and its art direction inspired many films that came after it, but it made the mistake of trying to stretch 60 minutes worth of story into a full length movie.

Zing~!

Not really. Yes, really.

I can't see this title actually changing hands on free TV. (Triple H being awardedit/stripped of it, but not it moving from one wrestler to another due to an actual match.)