From what I’ve gathered, the theme of the movie isn’t Hollywood, but spectacle in general, and how trauma becomes spectacle in a process that’s harmful to everybody.

That would all be well and good if Marvel were just normal blockbusters. But they’re not: they’ve basically swallowed cinema whole. The whole IP-driven nostalgia-pandering blockbuster model is because of them, and it crowds out just about every other kind of movie. People talk about how EEAAO was a phenomenon, and in…

Doing fourteen wildly different improvised takes that were (according to Peele) all equally good is undeniably impressive. And even if you disagree, people take harmless internet articles way too personally.

I understand that this makes me part of the problem, but seeing Kim go evil even just for half a season was fun. I’d like to imagine there’s an alternate universe where she’s doing the whole Saul thing but better.

Meh. Johnson’s likable enough, as is Richard E. Grant as her dad, but it’s not as visually interesting as, say, 2020's Emma.

Listen, I’m not fussed about slavish adherence. I’m not a purist, I love it when movies and theater get weird and anachronistic. But if you’re gonna do it, you need to understand what makes the source material work so well. Persuasion works because it’s thoughtful and introspective; if it’s gonna go the Fleabag route,…

Vibrant, OK, Austen’s writing is always vibrant. But “jocular” gives entirely the wrong idea. Persuasion is witty, but it’s a more heavy-hearted affair than usual. That doesn’t necessarily preclude the Fleabag approach, but if one were to do that then there’d have to be the appropriate tone, and not “ohh goodness me…

“The vibrant, jocular tone of the book?” Persuasion is easily Austen’s most thoughtful, even downbeat novel. There are some elements of humor, but treating it like a breezy Regency lark is exactly the wrong approach, and it’s why pretty much everywhere else hates this movie.

I freely admit that I’m not of Asian descent and as such can’t say how this “should” be written. But surely the issues with the cultural signifiers here should just be one part of a larger review and not...the entire review?

Before we say anything else, WOOOOOOOOOO RHEA SEEHORN!

I’m guessing they missed the eligibility deadline?

The fact that Jonathan Banks lost the Emmy for “Five-O” to Peter Dinklage for a GoT season where he doesn’t even really do anything is criminal.

I could see not liking the main challenge, because everything TikTok touches turns to garbage. But not liking the *lip sync?* Jesus.

Even if he wasn’t an enormous asshole who sexually harassed his trans niece, I wouldn’t like this guy’s movie. They’re all Oscar bait that tries to act like they’re not Oscar bait by having stupidly overwritten dialogue and big hammy Acting.

If you asked me to guess what Michael Shannon’s directorial debut would be about, “school shooting” would have been in my top five guesses.

Apparently the movie was supposed to be called “Fire” stateside, but Denis hated it so she changed it back to the European title - which is a shame, because tbh “Fire” is a great goddamn name for a movie

I don’t think it’s a literal split personality, but it does seem like there’s a sort of duality.

Shang-Chi wasn’t quite as good as it was hyped up to be, but Tony Leung was amazing in it - and not for nothing, *distressingly* hot.

I try not to complain about overexposed starlets, because it usually ends up a way to indulge in petty sexism, but...why Cara Delavigne. To what end.

The trick is not to care about what other people on the internet think. There are actually many things in the world to like!