Nothing else to say
When it comes to prior knowledge of the subject matter before seeing a movie, it is all situational.
Case in point, I have yet to play any of the Five Night at Freddy’s games (or “FNAF” as I know it to be called), but I knew just enough about it in a sense going in thanks to the trailer and the expert of the games going with me named Sean, a friend’s son.
It should be obvious, but it is nigh impossible to call oneself a cinephile and dislike the films of Martin Scorsese (or at least not appreciate them).
His name is on par with directing giants of the past: Hitchcock, Ford, Ozu, Welles, Kurosawa, Kubrick, Fellini. He has been in the twilight of his career for a little over a decade now, but has never lost his unique cinematic eye. For those like him working into his 80s (it should be noted before this film, I saw two trailers for up coming films from two octogenarian filmmakers: Michael Mann and Ridley Scott), it is not easy to bring about something fresh as well as ones old tricks.
Yesterday was my first time back at my local Six Flags Theme Park in many years.
It was refreshing, knowing that, in my mid thirties, I am still able to stomach (most of) the rides, both new and classic (not to mention all the walking).
All of that was a cake walk to the previous night, when I went to see Taylor Swift: The Eras Tour.
(It should now me stated that this is not so much a review of a film as it is of an experience.)
I was allowed to see most R rated movies growing up in my pre-teen/teen years, with the sole exception of 1973’s The Exorcist. My mom was so convinced she could be possessed that she was against me seeing it until she would be able to watch it with me, and pause before every scary part.
Even after a half century of sequels and (truly) countless rip offs, The Exorcist has still retained it’s immortality on the Mt. Rushmore of horror films. It is hard to argue its impact. From that view point, it is easy to see why director David Gordon Green, who just finished a trilogy of Halloween sequels (which I have yet to see), would want to use the same approach and make a direct sequel to the late great William Friedkin directed masterpiece. The result, The Exorcist: Believer, is a true let down.
I’m not much of a proponent for AI, but I do admit it has positives I cannot deny (let us never underestimate what spell check has done for us, and iif it weren’t for a GPS, I would be disoriented on the road).
AI also has helped tremendously as a subject for film, dating back to its real starting point (in what is arguably still the greatest Sci-Fi film to date) with the HAL 9000 in 2001: A Space Odyssey (1968). Since then, AI has been somewhat over used in media, so one may even be excused to think some of what is shown in Gareth Edwards’ The Creator is cliche.
Nothing else to say