Nothing else to say
One of the main reasons I’ve always been a fan of coming of age films is simply the idea of character development.
The second decade of our lifetimes has arguably more life lessons learnt than any other time in our lives (or at least the most memorable ones). That makes that time of a life ripe for picking when it comes to drama. Whether it takes place in the rebellious 1950, the John Hughes 1980s universe, or the tech driven 21st century, teen life is hard all around.
It is weird timing for a film like Deadpool & Wolverine.
Ever since the end of Thanos in Endgame, a majority of the shows and films have been, at best, just good (I exempt No Way Home). A lot of super hero fatigue can play into this, along with the termination of Jonathon Majors as Kang and both a writers and actors strike. The film also needs to live up to being not only the MCU debut of both it’s title characters, but the first MCU film to be rated R (more on that later).
Prior to watching Kevin Costner’s first directed film in over two decades, I looked at my Letterboxd account to realize that this film would only be the eleventh western film I have ever seen in the theater.
Granted, this is largely due to my age (which is why my first “western” experience in the theater was sadly 1999’s infamous Wild Wild West), so it is safe to say all the westerns I have seen have been on a smaller screen. It was with this lack of big screen western experience and the fact that Horizon: An American Saga – Chapter 1 has a 40% score on rottentomatoes (it was not screened for many critics, which is rarely a good sign) that I went to see the film,…and was actually surprised at it.
You know how you can sometimes be oblivious to any form of accent you have when speaking?
As someone who has grown up in the midwest his whole life, I definitely never picked up on having an accent of any kind. Even so, it was impossible for me to not notice the accent work of Jodie Comer is using in The Bikeriders.
In the week or so I spent catching up and rewatching the previous Mad Max films, a rather unrelated film scene popped into my head.
In 1941, there was a film released called Hellzapoppin’. While I have not seen the film, I have seen what is arguably the film’s most popular scene when the characters do a dance called “The Lindy Hop”. When you watch it on YouTube, you will most likely have trouble concluding that these talented people are not being sped up on film: they are just that bleepin’ fast.
Over the last month or so, I found myself watching three films from the 1950s that were definite products of their time (which is not to say they were bad).
The three films (The Incredible Shrinking Man, Them!, and Invasion of the Body Snatchers) most assuredly dealt with fears of the times: radiation, political invasion, and nuclear war. Thankfully, none of that has happened since then (well, maybe the invasion part, but that is not something I want to dive into), but they surely seemed like possible outcomes.
Going as far back as Kurosawa’s 1961 classic Yojimbo (and probably even before that), the revenge flick always has a unique place in the heart of the audience.
Whether it be a samurai, a war vet (ala Rambo), a 21st century Liam Neeson role, or (most recently) the John Wick films, we all have that inner being that wants to exact revenge. Whether it be a bully, a boss/co-worker, or someone who cut you off in traffic, our (much safer) alternative to vengeance is watching it dished out on screen.
I was a Junior in High School when the Terri Schiavo case made headlines.
From what I remember, it was brought up in at least one of my classes as a potential debate topic, and it also was something I thought could hurt the film Million Dollar Baby at that year’s Oscars (it didn’t). Being what introduced the world (or at least me) to the term “euthanasia”, the whole impact of the ordeal seems to have been lost to time.
Premise alone is not always the best way to intrigue me, but that is definitely what happen when I first saw the trailer for I.S.S.
There is not as much shame as there used to be when I would admit to going into a movie thinking it was bad and it ends up being good (or vice versa).
I had more of a “mistaken identity” when watching May December. I’m not sure where I read it (or where I thought I did) but I went into the film thinking that the two main actresses, Natalie Portman and Julianne Moore, were a married couple. Regardless of how I came to this false conclusion, it is not the case the new film by Todd Haynes, but that does not at all take away from the true film, with one of the more unique and admittedly disturbing premises in recent memory.
Nothing else to say