It Has Been Said That The Reason

Going To See Godzilla At The Palais Of The Cannes Film Festival Is Like Attending A Satanic Ritual In St. Peter's Basilica.

All I Require Of A Religion Is That It Be Tolerant Of Those Who Do Not Agree With It.

To Call It An Anticlimax Would Be An Insult Not Only To Climaxes But To Prefixes. It's A Crummy Secret, About One Step Up The Ladder Of Narrative Originality From It Was All A Dream. It's So Witless, In Fact, That When We Do Discover The Secret, We Want To Rewind The Film So We Don't Know The Secret Anymore. And Then Keep On Rewinding, And Rewinding, Until We're Back At The Beginning, And Can Get Up From Our Seats And Walk Backward Out Of The Theater And Go Down The Up Escalator And Watch The Money Spring From The Cash Register Into Our Pockets.

It Is An Interesting Law Of Romance That A Truly Strong Woman Will Choose A Strong Man Who Disagrees With Her Over A Weak One Who Goes Along. Strength Demands Intelligence, Intelligence Demands Stimulation, And Weakness Is Boring. It Is Better To Find A Partner You Can Contend With For A Lifetime Than One Who Accommodates You Because He Doesn't Really Care.

Pearl Harbor Is A Two-hour Movie Squeezed Into Three Hours, About How On December 7, 1941, The Japanese Staged A Surprise Attack On An American Love Triangle. Its Centerpiece Is 40 Minutes Of Redundant Special Effects, Surrounded By A Love Story Of Stunning Banality. The Film Has Been Directed Without Grace, Vision, Or Originality, And Although You May Walk Out Quoting Lines Of Dialog, It Will Not Be Because You Admire Them.