I don't know Eddie's feelings on it, but I am definitely calling dibs on a seat during the PROMETHEUS comm. All sorts of new ones shall be torn.

I take it you appreciate the virtues of the original TCM.

Oh, fuck me. How did I leave KILLER KLOWNS FROM OUTER SPACE off my list?

I'll toss out a few just to gauge interest -- might be quite a few we don't have much to say about but all worth considering:

HALLOWEEN
TRICK 'R' TREAT
CREEPSHOW
THE TWILIGHT ZONE
THE EXORCIST
ROSEMARY'S BABY
SLEEPY HOLLOW
BEETLEJUICE
PRINCE OF DARKNESS
IN THE MOUTH OF MADNESS
CHILD'S PLAY
POLTERGEIST
NIGHTMARE ON ELM STREET
FRIDAY THE 13TH
SAW
HELLRAISER
AN AMERICAN WEREWOLF IN LONDON
THE HOWLING
THE RING
THE BLAIR WITCH PROJECT
THE OMEN
THE AMITYVILLE HORROR
28 DAYS LATER
THE DEVIL'S BACKBONE
PET SEMATARY (1 & 2)
PSYCHO
SALEM'S LOT
BODY SNATCHERS '93

You're totally right. We hadn't planned that shot but we altered the script, discarding the original opening, and needed that for an intro. Didn't even think about how he should be limping. You'd think someone there would have, but goes to show. When you're in a rush (and we only had a couple minutes to get the shot -- Katie, the redhead, had to leave), should-be-obvious stuff slips through the cracks.

I think Teague is confusing the door shot with the master of the couch. We spent a lot of time on the master but the door we only had time to blast light on them from inside and flag the sun while they were outside. Turned out nice though.

I haven't seen the movie yet, but I feel the need to clarify the "Perfect Movie" label, because I often see it mentioned by folks here on the forum but not quite the way it's intended.

The term as I first proposed it refers to an evaluation specifically of the storytelling construction -- in a "perfect movie," every major set-up has a pay-off. I say major because anything can be a set-up -- if a character sits down at a restaurant and orders a Coke, that could get paid off later somehow, but it's okay if it doesn't. That could just be an innocuous throw-away detail. A major set-up is something the film deliberately highlights and in the language of cinema states, "this is important, file it away for later." If a film pays off every major set-up (and especially if it pays all of them off AND some of the minor ones to boot), it's a "perfect movie." If it doesn't, it's not.

All that to say, the measure of a perfect movie isn't "I expected boobs and blood and it had those things." We've used the term imprecisely on the show to essentially mean "a movie that doesn't try to be anything more than it is," but that's not what "perfect movie" means.* It actually comes down to the structure of the screenplay. As I said, I haven't seen the film yet, so I can't say whether or not it qualifies. But given your review is essentially defending the film's right to not make sense as long as it gives you a satisfactory testosterone high, I'm guessing not.

You can have a great movie that isn't "perfect" and you can have a technically "perfect" movie that isn't great (the former is common and the latter seems more rare). It's just one of many metrics.

(* It's probably worth coming up with a shorthand DIF term we can use for "not trying to be anything more than it is," because that's a valid -- and in my view, often positive -- evaluation of a film.)

Mr. Stuart T. Maschwitz has elaborated on his work on Twitter:

The bit about transporting -- if you by chance meant teleporting -- makes it sound like it might be the 90s version of The Tomorrow People.

I know I shouldn't be surprised anymore that Trey just up and knew such an obscure thing. But here we are.

lulz

He does also have an extremely maneuverable flying machine. Probably wasn't TOO hard to hook up a spray nozzle to that thing.