I haven't had the guts to go back and revisit it because, while I enjoyed it as a college kid at the time of its release, I'm relatively sure I won't care for it 10 years on. What little I can remember of it strikes me now as pretty hamfisted and emotional-cudgel-y (and WIWH looks about the same). YMMV

EDIT: Basically, you know the "It's not your fault" scene in GOOD WILL HUNTING? That's GARDEN STATE the whole time, set to an early-millennium indie rock soundtrack.

I don't know how he went this long without knowing anything at all about ALIEN or its iconic scenes but I'm glad he did. His reaction to the chestburster is exactly what you'd want it to be.

It's possible. I'm grumpy because TRANSFORMERS.

This took a turn for which I will not be held responsible.

Fridge Logic IS an invalid form of criticism, to a large extent, because by definition it's something you didn't notice until well after the film was over. It actually goes to the central point of the article -- at least what I think the central point is, FCH makes my eyes glaze over a bit -- which is that a logical problem is only a problem if it takes you out of the story. If it would take a bunch of plot gymnastics to justify something people aren't going to care about in the moment, the moment is more important. Something completely logically consistent but dull as a result is far inferior to something inconsistent but so engaging you don't care.

Fridge Logic is not completely irrelevant, as the problems can compound and make it difficult or impossible to enjoy the movie on repeat viewings, which is what I think separates an enjoyable movie from a classic. But it's not the main course as criticism goes.

Your Indy example is not Fridge Logic because that's something that stands out as you're watching it. When plotting issues distract from the story even the first time, that's when they become huge problems.

Michelle Fairley says no plans for Lady Stoneheart.

Nope, I'm sorry, I'm going full Jojenpaste on this one. I refuse to accept that they're cutting LSH after they went to all the trouble of setting up Thoros of Myr. I've decided she meant there were no plans to put her in S4, is just trying to throw us off the scent for later, and I will continue to believe that until the series finale airs without her.

FROM MY DEAD COLDHANDS

The site is called War is Boring. He reviewed a movie about war and says it was boring. Does what it says on the tin, really.

Very disappointed at how this thread has fallen into mansplaining. We have the benefit of having women's voices in this conversation, guys. Don't just leap to "explaining what's wrong with" their perspective.

It would make a fine closer for the premiere too, or any episode at all quite honestly.

Oh, and the line about Tywin not shitting gold -- I can see them finding a way to work that in later, when Tyrion talks about what he's done. And I hope they do, because it's a good line.

EDIT: the full-on magic missile business didn't bother me watching it, but discussing it with Trey and Eddie on Twitter just now has changed my feelings and made me a bit disappointed -- not that the show went there, but that it didn't lay the groundwork. By this point in the books we'd heard the legends about the Children of the Forest almost as often as we'd heard references to the Others, so when Bran finally met one of the Children it had a whole "legends come to life" thing to it. But I don't remember if they've ever mentioned them at all in the show -- maybe in season one with Old Nan? -- so instead in the TV universe there's just a sense of "Well I guess this is a thing now, too; dragons and wood nymphs and fuck it, no rules."

they need to do everything in the books exactly liek in the books except the parts i don't like they should do it the different way i want

Oh, bless your heart.

Loved it. It's everything we're always asking for movies to be in the show. Sharp, sense of humor, tightly paced, clear and constantly escalating stakes, telling a human story, exploring the concept without belaboring the point, with visual effects serving the story and not the reverse, and an unsexualized female mentor character who doesn't exist solely as a love interest or to go to pieces at the 11th hour just to make the main character seem more heroic by contrast. This is the new gold standard for blockbusters.