You can’t save everyone.
Tom Holland’s trilogy outing as Sony and Marvel’s iconic webslinger has been a fascinating journey. From John Hughes-inspired high school romance, to globetrotting highjinks and now to a threat on a multiversal scale, director Jon Watts has aptly ramped up the stakes to this iteration’s Peter Parker to a much more catastrophic, yet personal, level and simultaneously provided a fair bit of fan service. This was to be expected given the presence of Alfred Molina (and…
DATE: November 20, 2021
CITY: Columbus, OH
ARTICLE BY: Wesley R. Ball
The night is cold, but not bitter. I've traveled three hours down here from Toledo to see Wes Anderson's newest film, The French Dispatch, his first live-action film since The Grand Budapest Hotel. My hype is palpable. As I make my way to my seat, three young children- too young to be seeing and appreciating this film- have taken their seats directly next to me. i am in…
Five years after the disastrous first effort at adapting the infamous DC antihero teamup, James Gunn takes over in his own kaleidoscopic and viciously violent vision that finally proves that Warner Bros. trying to keep total control over their cinematic properties isn't exactly in their best interests. This is Gunn unhinged- like if Guardians of the Galaxy were a 70s war flick rife with gore porn and psychopaths. The biggest problem with the first film, aside from the painfully obvious…
David Lowery's beautiful, sprawling adaptation of Sir Gawain and The Green Knight is astounding in every sense of the word. A methodical and meditative medieval masterpiece that takes its time in absorbing the audience into its world and characters in a way that few films achieve. In true fashion following his 90-minute A24 entry A Ghost Story from 2017, Lowery provides a slow but deliberate pacing to his vision of the centuries-old tale that lays bare the original text's themes,…
Your annual dose of Disney™ and Marvel™ corporate product has arrived. Consume and be excited for more product from the Mouse House®.
This is literally just the first Space Jam with a smorgasbord of countless Warner Bros. IP's and an uncomfortable Don Cheadle just doing his best. Having nearly the same plot, beat by beat, doesn't help, as it's a nigh constant assault on the eyes with scenes bursting at the seams from sensory overload, as you try to pick out which franchise shows up when. In a new age of legacyquels, this new Space Jam commits their worst sin: nostalgia baiting audiences while offering up absolutely nothing inventive or refreshing to add to an already unnecessary followup.
In 1967, Dodie Smith wrote a sequel to her 1956 novel The One Hundred and One Dalmatians titled The Starlight Barking. Here's a couple paragraphs of the plot summary off Wikipedia:
One morning, the dogs find all other living things besides dogs cannot be wakened. No dog is hungry, thirsty, or weak. Doors, gates, and machines operate on command, and the dogs are able to communicate via thought waves to others many miles away. Cadpig, now acting Prime Minister in…
People forget that Disney has been doing live action adaptations of their classics for almost as long as I've been alive, they're nowhere near being a new trend. They're just doing them more often now because they have more potential with modern technology (see: Maleficent, Pete's Dragon). Disney isn't becoming creatively bankrupt, you're just upset they're doing them more often now because they can. That's not to say it's right of them- I still think new IP's would be a…
I didn't choose the Skux life. The Skux life chose me.
I can't believe it took me this long to watch this.
Workers are expendable cogs in a greater machine that supposedly exists for the benefit of society as a whole.
Surprisingly relevant in today's world.