"Groundhog Day. I can watch that movie just a million times and never get sick of it. There was a whole spate of movies around that time in the ’80s and ’90s where something magical would happen, and sort of screw over a protagonist in some way, and some of those devices were very corny and kitschy and didn’t work as well. Some of them just worked magnificently, and this one is one of those. It’s just these sort of inexplicable moments where the universe is teaching this one guy a lesson, and they never explain how or why, but you don’t care, because it just kind of makes sense. And the way it unfolds, it’s sort of like it’s one of those things that, I think, if you tasked somebody with writing a story with that premise, where a guy wakes up every day in the same day and he has to relive it over and over again until he learns to be a good person, you’d be sort of overwhelmed, like how can I do that? Then you see this version of it, and you’re like, that’s the perfect way to do it. It’s like, “Oh, it’s so simple.” That’s a brilliant script, when it looks like there was no other way to do it, if that makes any sense. And the performances, everyone from Chris Elliott to Andie MacDowell to Punxsutawney Phil. I mean, they all nail it."

"It would just be dumb not to include this. I have been once accused of being irreverent above all, and I am in danger of proving that here when I say that I find most Malick 2.0 movies to be ridiculous. I do like To the Wonder because it’s pulpy. When I heard that Malick was making The Thin Red Line, I checked James Jones’s book out of the library and sat in my attic sublet poring over it in anticipation of what was to come, and when it came . . . gee whiz but what an overblown lint ball of homoerotic bluster and worthlessness. And: there’s nothing wrong with Badlands. Beautiful, great music, magical pace, great, great acting. An ultimate movie, so good that it’s understandable how the momentum from Badlands alone can propel boatloads of people to believe that The New World has content. Springsteen appropriated Badlands, using its power to artificially light his Nebraska. Tarantino and Tony Scott used it to make the best screwball romantic comedy of modern times, True Romance. Badlands is as close to a perfect movie as I can think of (though I don’t hold perfection as the most desirable of qualities in anything), one that holds something to draw in almost any audience. Even the brutality that might otherwise repel is balanced enough with gentleness and charisma that I wouldn’t squirm watching the movie with a grandparent. Well: children probably shouldn’t see it. Maybe probably."

"Again, I love absolute everything that Ronnie did, from Elf to Sabbath, but it's his voice that drew me to this record because it's so magical and so unique. He was a very accomplished all-round musician though. When you look at his body of work it's just tremendous, but this is certainly one of his best. I love singers that mean what they're singing and have power behind them, and Ronnie meant it. This album is proof that you don't always need to just scream your tits off to make a point. The title track is the standout song on this album for me. If you look at any artist who has had the grace and fortune to be successful for a long period of time there are certain songs that stand out even on greatest hits compilations, but I own a Dio compilation and every song on it is as good as the last. I was involved in a tribute record after Ronnie's death to raise money for his charity. It was a great thing to do, and there were so many talented people involved in it. It just proved that everybody loved Ronnie. Not only did he create some amazing music, but he was a fantastic human being. People were lining up to do that record and by the time I agreed there weren't that many songs left to choose from."