Nothing else to say
If you have seen at least one movie at the cinema in the last 3-4 months, then you have seen a trailer for Argylle.
One of the taglines for this movie is “Once you know the secret, don’t let the cat out of the bag.” While this is easily meant to apply to the plot, it did not take long for me to realize the makers meant this for the movie itself. The secret is that this cinematic “cat” is the first one to not land on its feet since Mufasa (I totally understand if that is too soon to bring up).*
I was definitely not expecting that.
Am I the only one who thought this after seeing Godzilla Minus One? Having been around for nearly seven decades and being in more than a dozen movies, Godzilla is nothing short of a cinematic icon.
(Note: All actors regarded to are in the English version of the film).
I’m not sure if I was too late in joining the Studio Ghibli band wagon when I discovered Spirited Away (which, after two decades, is still the best animated film of the century), but I have yet to jump off of it.
The increasing gaps between film releases in the MCU is becoming apparent.
This can be due to many factors, including the now (thankfully) ended SAG-Aftra strike. Yet the quality in the films (not to mention most of the TV shows) in the MCU have been dipping in the last year or two. True, the last movie we had, Guardians of the Galaxy Vol 3, had its moments, but that was back in May. Since then, the only true good thing we have gotten was a second season of Loki, which arrived the same time as the newest film, The Marvels. It should be no wonder why the only MCU film to be released next year will be the long awaited Deadpool 3.
It’s been a little less than a year and a half since we got Baz Luhrmann’s Elvis biopic with Austin Butler.
At first glance, one could easily assume it is poor timing to have another film about the king of rock n roll, but that is not the situation. The title of the film itself should prove that the film is not about Elvis, but his wife Priscilla.
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.
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’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.
As someone on the autism spectrum, I sometimes think what life would be like if my intense interest in cinema was instead in wall street.
I am not saying I wish that to be the case, but if it were, perhaps I may have had a chance at the whole GameStop issue from the start of 2021, and then clearly understand what is happening in the film based off of these events, Dumb Money.
The last decade or so of romance films have been really hit or miss for me, especially in the young adult genre.
Nothing else to say